British Prints from the Machine Age is a profusely illustrated examination of the impact of avant-garde Continental influences on British printmaking in the years stretching from the First World War to the outbreak of the Second.
Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. Attention is paid to step-by-step guidance through the many stages of the process.
It is said of Georg Baselitz that, in his upside-down pictures, he expresses the misery of the human creature. In South Africa we are very aware of the misery in which the human creature was dumped, but we are also very aware of the triumph of good over evil, gained against all odds and in all adversity as we endeavor to salve and heal wounds of the past.
This beautifully illustrated book is the first in English to celebrate the Dutch contribution to Art Nouveau through a tour of over one hundred posters, decorative calendars, and illustrated books, as well as prints and drawings. With text by Clifford S. Ackley, one of the leading specialists on Dutch prints and drawings, Holland on Paper in the Age of Art Nouveau provides a fascinating and visually rewarding introduction to a rich and creative artistic era.
Prints and Their Makers takes you behind the scenes to witness the creative process at the world’s top printmaking workshops. Master printer Phil Sanders offers an in-depth look at this versatile medium and places contemporary prints and practices in the context of traditions and techniques developed over more than a thousand years.
So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year before, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art.
Warhol sought out all the most glamorous figures of his times – Susan Sontag, Mick Jagger, the Barons de Rothschild – despite being burdened with an almost crippling shyness. Behind the public glitter of the artist’s Factory, with its superstars, drag queens and socialites, there was a man who lived with his mother for much of his life and guarded the privacy of his home. He overcame the vicious homophobia of his youth to become a symbol of gay achievement, while always seeking the pleasures of traditional romance and coupledom.
Printmaking was fundamental to Pablo Picasso’s artistic vision. Over his long career, he made well over 2,000 printed images, focusing on the intaglio techniques of etching, engraving, drypoint and aquatint, as well as on lithography and linoleum cut. This publication, published to accompany an exhibition at The Museum of Modern Art, explores Picasso’s creative process in printmaking starting in the early years of the twentieth century with his Blue and Rose periods, and extending up to the last years of his life.
David Krut Projects is pleased to present Print Me, the first exhibition dedicated to Chakaia Booker’s prints. Booker began collaborating with Master Printer, Phil Sanders, of Robert Blackburn Printmaking Workshop in 2009, and has created over 100 unique prints to date.
Arguably the most significant book on printmaking published in the last five years, showcasing rare works on paper created for the Paragon Press by 25 leading artists – including The Chapman Brothers, Peter Doig, Damien Hirst and Gary Hume. Edited by Patrick Elliott. Designed by Peter Willberg.
John Martin Gallery was pleased to present South African artist Deborah Bell’s exhibition A Far Country. This was Deborah’s second UK exhibition which brings together recent sculptures and paintings from the last four years including her major series based on the song, See Line Woman. The show also provided an opportunity to exhibit two of…
Etching today is regarded as the old man of printmaking, its roots lying with alchemists and armourers. It has slowly evolved over the centuries, taking and incorporating new developments such as photography in its stride.
Far more than being about a single artwork, this book participates in the myriad conversations and debates on the meaning of public art. The essays prise open critical questions about public space in Johannesburg; Oliver Barstow’s interviews with the various collaborators on the sculpture reveal the complexities and challenges of creating such a massive work in so short a time; and the images by John Hodgkiss of the making of the sculpture, alongside two photo essays suggest the metaphorical power of Fire Walker as well as the fragile hold of street vendors over their small share of city space.