Category Archives: art
In Sculpting in Time, Andrey Tarkovsky has left his artistic testament, a remarkable revelation of both his life and work. He sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films.
German printmaker Käthe Kollwitz (1867–1945) is known for her unapologetic social and political imagery; her representations of grief, suffering, and struggle; and her equivocal ideas about artistic and political labels. This volume explores Kollwitz’s obsessive printmaking experiments with the evolution of her images, and assesses the unusually rich progressions of preparatory drawings, proofs, and rejected images behind Kollwitz’s compositions of struggling workers, rebellious peasants, and grieving
A landmark publication — beautifully illustrated with over 300 prints from the British Museum’s renowned collection — which traces the history of printmaking from its earliest days until the arrival of photography. Copperplate printmaking, developed alongside Gutenberg’s invention of moveable type, was a huge business employing thousands of people, and dominating image production for nearly four centuries across the whole of Europe. Its techniques and influence remained very stable until the nineteenth century, when this world was displaced by new technologies, of which photography was by far the most important. Print Before Photography examines the unrivaled importance of printmaking in its golden age, illustrated through the British Museum’s outstanding collection of prints. This unique and significant book is destined to be a leading reference in print scholarship, and will be of interest to anyone with an interest in this era of art history.
In this important book Christina Weyl takes us into the experimental New York print studio Atelier 17 and highlights the women whose work there advanced both modernism and feminism in the 1940s and 1950s. Weyl focuses on eight artists — Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan—who bent the technical rules of printmaking and blazed new aesthetic terrain with their etchings, engravings, and woodcuts. She reveals how Atelier 17 operated as an uncommonly egalitarian laboratory for revolutionizing print technique, style, and scale. It facilitated women artists’ engagement with modernist styles, providing a forum for extraordinary achievements that shaped postwar sculpture, fiber art, neo-Dadaism, and the Pattern and Decoration movement. Atelier 17 fostered solidarity among women pursuing modernist forms of expression, providing inspiration for feminist collective action in the 1960s and 1970s. The Women of Atelier 17 also identifies for the first time nearly 100 women, many previously unknown, who worked at the studio, and provides incisive illustrated biographies of selected artists.
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
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
Engraving and Etching, 1400-2000: A History of the Development of Manual Intaglio Printmaking Processes
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.