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Informed and energized by a lifetime of painting, drawing and making images with cameras, David Hockney, in collaboration with the art critic Martin Gayford, explores how and why pictures have been made across the millennia. What makes marks on a flat surface interesting? How do you show movement in a still picture, and how, conversely, do films and television connect with old masters?
Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today’s art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available
This catalogue of outstanding paintings, sculptures, drawings and prints from Edward R. Broida’s recent gift of 175 contemporary works from his collection to The Museum of Modern Art reflects a wide range of artistic approaches. Most pieces were created after 1960; several artists, such as Vija Celmins, Philip Guston, Ken Price and Christopher Wilmarth, are represented in depth. The Broida collection also includes works by Richard Artschwager, Jake Berthot, Martin Puryear, Susan Rothenberg, Joel Shapiro, Mark di Suvero and John Walker, among others, and significant works by Jennifer Bartlett, Bruce Nauman and Richard Serra that provided important additions to the Museum’s holdings. This book includes an introduction to the collection by John Elderfield, the Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture, and an interview with Broida conducted by Ann Temkin, Curator of Painting and Sculpture. The plate section reproduces at least one work by each of the 38 artists included in the gift, and in many cases numerous works by one artist.
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.
Widely known for his vibrant paintings that employ a variety of styles–including abstraction, figuration, pop, and cartoon–Carroll Dunham (b. 1949) is also one of the most prolific printmakers of his generation. An integral part of his artistic process, Dunham’s prints combine the spontaneity and drama of his paintings with the careful premeditation demanded of the medium. His imagery–which shares the wickedly cartoony semi-abstractions of his paintings–is transformed, refined, and often intensified in his graphic work. “Carroll Dunham Prints” documents the artist’s entire print archive–which includes nearly 300 lithographs, etchings, drypoints, linocuts, wood engravings, screenprints, digital prints, and most recently, monotypes–the majority of which have never before been published. The authors examine the significance of printmaking to Dunham’s overall oeuvre, his innate sensitivity toward the systematic materials and procedures of printmaking, his inventive approach to this process, and the evolution of his imagery. It also features an insightful essay by Dunham that discusses his journey as a printmaker and his discoveries of the medium.
Out of stockThe conversations follow ten unique projects from inception to completion, tracing each artist’s initial vision, the artist’s and printer’s creative strategies, and reactions to the final product. By documenting the dual perspectives of artist and printer, the book reveals recent innovations in the field of printmaking as well as the collaborative nature of art-making itself.
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.
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.
This book is aimed at the studio printmaker. It covers many issues about ink, such as history, colour, inks for different forms of printmaking, specialist inks, environmental issues and recent developments in health and safety for the printmaker. There is no other book like it on the subject aimed especially at studio printmakers, and this should be a must-have for all reference shelves in printmaking workshops.
Published in conjunction with a major exhibition at the Smithsonian’s Cooper-Hewitt, National Design Museum, Piranesi as Designer explores the far-reaching impact of Piranesi’s modernist style on three centuries of architecture and design. 144 pages nearly 200 integrated color photographs.
Out of stockThis book presents an overview of the core printmaking areas: intaglio, lithography, collagraph, monoprinting, relief printing and screenprinting. There are also sections on Health and Safety, Workshop and Studio Space, and Displaying and Storing Prints, as well as a comprehensive glossary and list of suppliers. Separate chapters covering digital printmaking and the use of photography in printmaking ensure that the book is up to date with contemporary practice. Each chapter rounds off with a small gallery section showcasing the work of contemporary printmakers working with the relevant techniques. In each instance, the cheapest and easiest methods for each technique is explained and wherever possible the author covers methods for making prints at home, without the need for expensive equipment and presses. The whole book is filled with step-by-step sequences and clear instructions. The result is an excellent guide for the beginner and useful reference for the intermediate printmaker on all the printmaking techniques and how to use them.
This fully updated edition includes expanded chapters on digital and mixed media processes, and a brand new ‘Print & Make’ chapter, which explores the opportunities for creative expression within the many processes available to print makers. The more traditional techniques of relief, intaglio, collograph, lithography, screen printing and monoprint have also been refreshed with the addition of new images showing a broader range of subject matter, including more contemporary prints and international artists.
Rorke’s Drift’ was a highly influential art school which in the 1960s and 1970s provided the only place where black artists in South Africa could acquire a formal training. Despite its importance as a key site for black printmakers, little has been written on the subject.
Though deeply engaged with painting and drawing, Toulouse-Lautrec’s lasting contribution to artistic practice was as a graphic artist. Through his prints and posters, advertisements, and contributions in reviews and magazines, he brought the language of the late-nineteenth-century French avant-garde to a broad public. He ushered in the first print boom of the modern era; taking advantage of lithography’s new potential for colour and scale, he made both posters for the streets of Paris and prints for the new bourgeois collector’s living room. During his short career, he created more than 350 prints and 30 posters, as well as lithographed theatre programmes and covers for books and sheet music. The Museum of Modern Art’s collection of this material is stellar, encompassing over 100 prints and posters, his most important book projects, and many magazines, journals and other examples of printed ephemera. Featuring an overview essay by Sarah Suzuki, Associate Curator in the Department of Drawings and Prints at MoMA, this publication presents thematically organized groupings of Toulouse-Lautrec’s prints from the Museum’s collection, each accompanied by an illuminating essay on the theme.
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