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Underground Art and Commerce

  • The Graphic Art of the Underground, a Countercultural History

  • By Ian Lowey and Suzy Prince
Building on a series of 2012 lectures they gave at the Cornerhouse cinema and gallery in Manchester, in this volume Ian Lowey and Suzy Prince survey an assortment of rowdy art made from the early 1960s through 2008 by a selection of mostly British and American artists. Read More

Popularity, Populism and the Poster

  • The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s

  • By Ruth E. Iskin
“My posters are not intended for close or detailed examination,” Jules Chéret once remarked. Ironically, Chéret is one of the few artists whose posters have since the 19th century been the subject of careful scrutiny; for the most part they have remained in the shadows of art historical scholarship, rarely treated in any depth. Read More

Women and Print

  • Women and Print: A Contemporary View

  • Edited by Mary Davis MacNaughton, with essays by Sienna Brown, Margaret Mathews-Berenson and Mary Davis MacNaughton
As the recent New York Times article on the “men of Wellesley” made clear, gender is a can of worms. Certainly we get into deep water quickly when we view gender as predictive of future performance. But art exhibitions are about past performance, and insofar as art can be understood as the product of negotiation between an artist’s internal instincts Read More

Gillian Pederson-Krag

  • Gillian Pederson-Krag: Paintings and Etchings 1970–2011

  • By Gillian Pederson-Krag, with an introduction by Tom Mederos and contributions by Jeannot Barr
This new monograph surveys four decades of Gillian Pederson-Krag’s oeuvre, reproducing some 100 works from the lengthy career of this contemporary realist painter and printmaker. The text, apart from a brief introduction by Tom Mederos, is the artist’s own: five brief essays in which Pederson-Krag outlines her intentions, preoccupations and influences. Read More

Paradise on Paper

  • Arkadien: Paradies auf Papier, Landschaft und Mythos in Italien (Arcadia: Paradise on Paper, Landscape and Myth in Italy)

  • Edited by Dagmar Korbacher with contributions by Christophe Brouard and Marco Riccòmini
The allure of Arcadia arises in large part from the tension between nature and art. This dream-time and dream-place embodies not only the pastoral ideal of a simple life in harmony with nature, but also gives form to principles of virtue, love, otium (contemplation and leisure) and what we would now call creativity Read More

Christiane Baumgartner: White Noise

  • Christiane Baumgartner: White Noise

  • By Christian Rümelin with essays by Catherine de Braekeleer, Tobias Burg, Thomas Oberender and Helen Waters
The German artist Christiane Baumgartner has become famous for woodcuts in which she employs a system of carefully carved horizontal lines that taper and thicken in such a way that images coalesce: newspaper photographs, screenshots, frames of the artist’s own videos. Three European museums—the Centre de la Gravure et de l’Image imprimée (La Louvière, Belgium), the Museum Kunstpalast (Dusseldorf, Germany) and the Musée d’art et d’histoire (Geneva)—recently joined forces to put together a traveling retrospective and exhibition catalogue. Read More

Will Photography Kill Engraving?

  • Distinguished Images: Prints in the Visual Economy of Nineteenth-Century France

  • By Stephen Bann
A famous decree by the Académie des Beaux-Arts on 2 November 1816 officially enthroned lithography as a medium of overwhelming importance for the state, art and business in France. By the Salon of 1824, lithography was presented as its own genre. Not quite 30 years later, in his Parisian studio in the boulevard des Capucins, Félix Nadar celebrated the first great achievements in portrait photography. Within just a few decades, the quintessentially modern media of lithography and photography had invaded the universe of traditional print production Read More

The Forgotten History of a Medium

  • A History of Screen Printing: How an Art Evolved into an Industry

  • By Guido Lengwiler, foreword by Richard S. Field
Guido Lengwiler’s A History of Screen Printing is a remarkable achievement that chronicles the history of the medium from its inception early in the 20th century through the World War II era. The lavishly illustrated text, with a foreword by Richard S. Field, is divided into seven sections and includes extensive footnotes, an appendix with a list of patents and an index. Read More

The Subtle and Curious Vision of Al Taylor

  • Al Taylor Prints: Catalogue Raisonné

  • By Michael Semff and Debbie Taylor, with interviews by Mimi Thompson
Quoting Al Taylor in the introduction to the catalogue raisonné of his prints, Michael Semff, director of the Graphische Sammlung München, writes that printmaking fulfilled Taylor’s “own demand to devise ‘elaborate programs, systems, and methods which break down, fall apart, and change the more successful they become, taking on meanings and a life beyond’ his ‘original intentions.’” Prints tend to surpass “original intentions” as a matter of course, and Taylor welcomed the medium’s balance of control and surprise. Read More

Carefully Nurtured Conundrums

  • Lateral Inversions: The Prints of Barry Cleavin

  • By Melinda Johnston, with T.L. Rodney Wilson
The status of Barry Cleavin in New Zealand can be discerned from the sumptuousness of this publication—nearly 300 pages long, hard-bound, beautifully printed, and elegantly typeset in red and black. It documents a long career, running from 1966 (a Schiele-esque etching of two nudes) to a computer-aided etching of a monument toppled in the 2011 Christchurch earthquake. Read More

Shadow Journeys

  • Peter Bräuninger Schattenreisen: Radierungen

  • With texts by Alexandra Barcal, Peter Kane Dufault and Martin Schaub (in German)
The title of Peter Bräuninger’s recent retrospective and accompanying catalogue, “Shadow Journeys,” is taken from an etching the artist made in 1989. Like all of his work, it is meticulously rendered and lugubriously lit. A lone traveler, in jacket and hat and accompanied by an old-fashioned valise, looks out at an approaching steamship. The scene is a romantic evocation of a journey’s start, but things get strange quickly. Read More

Out of Hand: Materializing the Postdigital

  • Out of Hand: Materializing the Postdigital

  • by Greg Lynn, Christiane Paul et al.

Wim Delvoye, Twisted Dump Truck (CW) (2011), laser‐cut stainless steel, nickeled, 200 x 70 x 80 cm. Courtesy of the artist and Patricia Low Contemporary.

The distinction between analog and digital media is intricate. What does the shift from industrial age mass-production technologies (chemical photography, the printing press, phonograph records, etc.) to information age binary code entail for art, design and architecture? Read More

Printmaking in Paris: The Rage for Prints at the Fin de Siècle

  • Printmaking in Paris: The Rage for Prints at the Fin de Siècle

  • by Fleur Roos Rosa de Carvalho and Marije Vellekoop
In 1897 Camille Pissarro wrote to his son Lucien, “No one pays attention nowadays to anything but prints; it’s a rage, the young generation produces nothing else.” This remark lends both substance and title to the Van Gogh Museum’s recent publication Printmaking in Paris: The Rage for Prints at the Fin de Siècle. Read More

The Renaissance Reconceived

  • Hieronymus Cock: The Renaissance in Print

  • Edited by Joris van Grieken, Ger Luijten, and Jan van der Stock, with essays by Jan van der Stock, Joris van Grieken, Ger Luijten, Peter Fuhring, Krista de Jonge, Mandred Sellink, Wouter Bracke and Pieter Martens
The name Hieronymus Cock (1518–1570) might not be familiar to all Renaissance scholars or historians of printmaking, but it ought to be. The splendid new catalogue Hieronymus Cock: The Renaissance in Print, published in conjunction with a major exhibition in Leuven (M Museum Leuven), Belgium, and Paris (Institut Néerlandais), makes it clear why. In 1548, Cock and his wife, Volcxken Diericx, established Aux Quatre Vents (“At the Sign of the Four Winds,” a name that signals the publishers’ global ambitions), which the catalogue presents as the single most important print publishing operation of the 16th century. The remarkably vast and diverse range of prints that issued from their presses in Antwerp was instrumental in disseminating ideas and images throughout Europe and beyond. Read More

The Art and Craft of Woodblock Printmaking

  • The Art and Craft of Woodblock Printmaking: Woodblock Printmaking with Oil-based Inks and the Japanese Watercolour Woodcut

  • By Kari Laitinen, Tuula Moilanen and Antti Tanttu
In keeping with its institutional mandate to preserve and disseminate important research, Aalto University (formerly the University of Art and Design) has reissued The Art and Craft of Woodblock Printmaking by Finnish artists Kari Laitinen, Tuula Moilanen and Antti Tanttu. This important studio manual, first published in 1999, can now be obtained again in English, and there are hopes for a possible future electronic edition. Read More

Luc Tuymans—Graphic Works 1982–2012

  • Luc Tuymans: Graphic Works 1982–2012

  • Edited by Tommy Simeons. Text by Manfred Sellink, Marc Joseph Berg and Beau Silvers
This monograph offers a comprehensive collection of Luc Tuymans’ work in printed media. Spanning three decades of the Belgian painter’s career and including a thorough list of exhibition and publication histories, it also functions as a catalogue raisonné. The book follows a chronological layout, which allows the reader to trace the arc of Tuymans’ career as it builds momentum and branches out to include collaborations with master printers, poets and fellow artists with sympathetic politics. Read More

A Printmaker’s Document

  • A Printmaker’s Document

  • By Jim Dine with additional texts by Gerhard Steidl, Ruth Lingen, Daniel Clarke, Bill Lagattuta, Julia D’Amario and Katherine Kuehn
A Printmaker’s Document details the rich history and artistic processes of Jim Dine’s prints, as told by the artist and many of the printers with whom he has collaborated over the years. Inspired by a semi-autobiographical volume from the German printmaker HAP Grieshaber, this curious, compact book is part catalogue raisonné, part memoir and part artist’s book. Read More

Rembrandt’s Century: When Prints Changed the World

  • Rembrandt’s Century

  • By James A. Ganz
The Dutch “Golden Age” is having a celebrity moment—its artists feature in movies, novels and popular biographies; its artworks appear on tote bags, throw pillows and iPhone cases. These 400-year-old artifacts have proved smoothly adaptable to contemporary consumer desires, but the actual lives behind them—the thoughts, motives and technologies of the people who made them—seem ever more inaccessible (or perhaps, from the marketing angle, irrelevant). The Fine Arts Museums of San Francisco’s exhibition and catalogue “Rembrandt’s Century” attempt an ambitious thing: exploiting the generic popularity of the Golden Age to present a subtle and thoughtful investigation of the intentions, materials, logistics and belief systems that built one of the most magically productive moments in the history of art, and doing so through hundreds of works on paper, primarily prints. Read More

Gert & Uwe Tobias: Dresden Paraphrases

  • Gert & Uwe Tobias: Dresdener Paraphrasen / Dresden Paraphrases

  • Edited by Michael Hering, foreword by Bernhard Maaz, texts by Michael Hering, Gudula Metze and Claudia Schnitzer
Bound in pink satin and stamped with a grand gold cartouche, Gert & Uwe Tobias: Dresdener Paraphrasen / Dresden Paraphrases might be mistaken for a reverent tribute to the frothy Rococo of Dresden’s prewar city center, were it not for the small mutant chicken, perched on a curled corner of the cartouche, missing its torso and looking a little dazed. Its presence, both cute and creepy, disrupts the formal symmetry and alters the historical implications of the design. The bird’s silly beak points firmly to the 21st century while its talons grip the 17th. Read More

An Archeology of the Iconic World: Prints and the Pursuit of Knowledge in Early Modern Europe

  • Prints and the Pursuit of Knowledge
 in Early Modern Europe

  • Edited by Susan Dackerman; With essays by Susan Dackerman, Lorraine Daston, Katharine Park, Suzanne Karr Schmidt, and Claudia Swan
In his assessment of the major shifts in philosophical thinking during the course of the 20th century, the German philosopher Wolfram Hogrebe came up with a succinct summary: “The last century started with consciousness, exhausted itself with language, and ended with the image.” This is the age of the image. If they became increasingly prevalent over the last hundred years, they are now ubiquitous across a range of media that could hardly have been imagined a century ago. Read More