By Deborah Wye (2017)
Published in conjunction with an exhibition at The Museum of Modern Art, this catalog presents more than 270 prints and books, organized thematically, and includes an essay that traces Bourgeois’ involvement with these mediums within the broader developments of her life and career. It also emphasizes the collaborative relationships that were so fundamental to these endeavors. Included are interviews with Bourgeois’ longtime assistant, a printer she worked with side-by-side at her home/studio on 20th Street in New York and the publisher who, in the last decade of her life, encouraged her to experiment with innovative prints that broke the traditional boundaries of the medium. The volume is rounded out with a chronology and bibliography that focus on prints and illustrated books while also providing general background on Bourgeois’ life and art.
Link to MoMA online archive: Louise Bourgeois: The Complete Prints & Books
By A.B. Spellman (1967)This book offers biographical sketches and quotations from four black musicians: Herbie Nichols, Cecil Taylor, Ornette Coleman, and Jackie McLean.
Edited by Mark Sloan (2016)
Lonnie Holley (born 1950), acclaimed by The New York Times as “the Insider’s Outsider,” is best known for his assemblage sculptures incorporating natural and man-made materials, often cast off or discarded; he has recently also begun to make music, through the Dust-to-Digital label. Legendary for his environmental assemblage that spread over two acres of his property in Birmingham, Alabama―now destroyed―Holley scavenges and repurposes found objects in the service of a personal philosophy of renewal and rejuvenation. This is the first monograph on Holley’s work in more than a decade. Illustrated with reproductions of more than 70 of Holley’s sculptures, it provides a comprehensive overview of Holley’s art, life and philosophy, with essays by Mark Sloan, Leslie Umberger, Bernard L. Herman and an “as-told-to” autobiography recorded by noted oral historian Theodore Rosengarten.
Edited by Elizabeth G. Seaton and Jane Myers (2015)
This highly original study offers the first comprehensive, critical overview of a company that expanded the audience for American prints, ceramics, and textiles throughout the 20th century.
Link to Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs: AAA Index
By Ad Stijnman (2012)
This book surveys the history of the techniques of engraving, etching and plate printing – i.e. that of manual intaglio printmaking processes – from its beginning in the 1430s until today. These developments are observed in the light of the coherence between the technique of the intaglio print (such as its materials and methods of production); the ‘style’ or outward appearance of the print; the creator of the print; and the fashion typical of a particular social group, place and time. Economic, educational and social aspects are discussed, as well as the worldwide dissemination of the trade of intaglio printmaking.
The author shows how intaglio printmaking developed steadily from the mid-fifteenth century, with the invention of the roller press and the etching of printing plates. By 1525 intaglio printmaking techniques could be said to have reached maturity and spread east and west following the European trade routes and colonisation. Further developments in plate-making resulted from a series of inventions and reinventions. After the abolition of the guilds on the European continent around 1800, and the introduction of photography and the expansion of the graphic industry, the engraving of images became a mere mechanical procedure. The handcrafted print made way for the large-scale mechanised graphic industry which emerged in the middle of the nineteenth century. Consequently artist-etchers withdrew to an elite position to concentrate on the manual aspects of printmaking, which is the situation today.
Edited by Emily J. Peters with contributions by Evelyn Lincoln and Andrew Stein Raftery (2009)
Renaissance engravings are objects of exquisite beauty and incomparable intricacy that are composed entirely of lines. Artists began using this intaglio process in Europe as early as 1430. This captivating catalogue focuses on the height of the medium, from 1480 to 1650, when engravers made dramatic and rapid visual changes to engraving technique as they responded to the demands of reproducing artworks in other media. The Brilliant Line follows these visual transformations and offers new insight into the special inventiveness and technical virtuosity of Renaissance and Baroque (Early Modern) engravers. The three essays discuss how engraving’s restrictive materials and the physical process of engraving informed its visual language; the context for the spread of particular engraving styles throughout Europe; and the interests, knowledge, and skills that Renaissance viewers applied when viewing and comparing engravings by style or school.
By Kyna Leski (2015)
Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer’s block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process.
Edited by Steven Henry Madoff (2009)
The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world — its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era — combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists — among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat — about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century — and what it shouldn’t be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead.
By Errol Morris (2011)
In Believing is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record.
By Helen Molesworth (2015)
In 1933, John Rice founded Black Mountain College in North Carolina as an experiment in making artistic experience central to learning. Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly. Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many