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International signal code alphabet
\"International Signal Code Alphabet by Corita Kent, produced in collaboration with the Corita Art Center. Radical American artist, educator and once-devout Catholic nun, Corita Kent's provocative serigraphy has entranced audiences for over four decades. Originally completed in 1968, Kent's Signal Code Alphabet, encompasses a series of 26 kaleidoscopic serigraphs integrating scripture, typography, image, icon, and the maritime flags of the International Code of Signals. As 2018 marks the 50th anniversary of both the series' completion, and the centennial of Kent's birth, the celebratory publication reproduces for the first time, Kent's International Signal Code Alphabet within fine art monograph format. An introduction is authored by Corita Art Center Director, Dr. Ray Smith, accompanied by a foreword authored by artist & curator Aaron Rose\"--Publisher's description.
Book
Reclaiming the Americas
How Latinx artists around the US adopted the medium of
printmaking to reclaim the lands of the Americas.
Printmakers have conspired, historically, to illustrate the maps
created by European colonizers that were used to chart and claim
their expanding territories. Over the last three decades, Latinx
artists and print studios have reclaimed this printed art form for
their own spatial discourse. This book examines the limited
editions produced at four art studios around the US that span
everything from sly critiques of Manifest Destiny to printed
portraits of Dreamers in Texas.
Reclaiming the Americas is the visual history of Latinx
printmaking in the US. Tatiana Reinoza employs a pan-ethnic
comparative model for this interdisciplinary study of graphic art,
drawing on art history, Latinx studies, and geography in her
discussions. The book contests printmaking's historical complicity
in the logics of colonization and restores the art form and the
lands it once illustrated to the Indigenous, migrant, mestiza/o,
and Afro-descendant people of the Americas.
eBook
Charles Pachter : Canada's artist
\"An Officer of the Order of Canada, Chevalier of France's Order of Arts and Letters, and recipient of the Order of Ontario, painter, printmaker, sculptor, designer, and author Charles Pachter is one of Canada's best-loved and most celebrated artists. Pachter is an artist with an astonishing range. His work is witty, thoughtful, moving, and personal. Many works, like Queen on Moose, The Painted Flag, and Hockey Knights in Canada, have achieved a remarkable level of recognition, becoming famous across the country - indeed, around the world. His collaboration with Margaret Atwood on The Journals of Susanna Moodie has been called \"truly the most magnificent book ever to be published in Canada.\" Charles Pachter: Canada's Artist is a celebration of the life and work - the struggles and triumphs - of a man who has helped to redefine Canadian art and whose promotion of Canada and its culture has left a lasting legacy - one that he continues to build on.\"-- Provided by publisher.
Book
Perspectives on contemporary printmaking
This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.
eBook
True grit : American prints from 1900 to 1950
\"An examination of thirty-eight prints by American artists from the first half of the twentieth century\"--Provided by publisher.
Book
Peter van Lerberghe: Artist, printmaker and 'capital' collector
There has recently been academic interest in exploring topography, as a loaded term, and out-of-date and manufactured \"genre\" which have had an unfortunate and long lasting effect on our understanding of a large swath of images. As John Barrel and I have recently explored, false distinctions between landscape art and the topographical has led to the overlooking of a very valuable area for research, and the Kings topographical collection at the British Library is a prime example. 19th-century keepers of the British Museum made value-laden judgments at a time when topography how to become to be seen as a poor cousin of landscape : what they branded as arts went into the Department of Prints and Drawings at the museum; what they branded as topography was relegated to a kind of \"salon de refuses\" in the library... In what has become, in spite of all, a thoroughly fascinating and enriching collection of images. George III's collection was assembled by and for the king as a visual record of the world, and remains arranged as it was on its donation to the nation, simply listed by place depicted. It has continued to be seen as little more than a visual record, with hardly any research undertaken into the images it contains on more than a superficial \"do you have any pictures of...\" level. Their provenance is unknown in the vast majority of cases and their authorship and iconography has never been explored. Therefore the identification of Peter van Lerberghe, a little-known artist responsible for several watercolors in the King's Topographical Collection and prints in both the British Library and British Museum, is the tip of a research iceberg, but indicative of the kind of work that remains to be done. [Abridged Publication Abstract]
Journal Article
Cutting Edges: Professional Hierarchy vs. Creative Identity in Nicolas de Launay’s Fine Art Prints
In 1783, Nicolas De Launay copied Les Baignets by Jean-Honoré Fragonard, stating it was made “by his very humble and very obedient servant”, an evidence of the hierarchical tensions between painters and printmakers during the eighteenth-century. However, De Launay’s loyalty is not absolute, since a critical artistic statement is found at the edge: an illusory oval frame heavily adorned with leaves and fruits of Squash, Hazelnuts, and Oak. This paper wishes to acknowledge this meticulously engraved frame, and many more added to copies throughout De Launay’s successful career, as highly relevant in examining his ‘obedience’ and ‘humbleness’. With regard to eighteenth-century writings on botany and authenticity, and to current studies on the print market, I offer a new perspective in which engravers are appreciated as active commercial artists establishing an individual signature style. In their conceptual and physical marginality these decorations allow creative freedom which challenges concepts of art appropriation and reproduction, highly relevant then and today.
Journal Article
Anne Ryan
Throughout her life Anne Ryan (1889-1954) sought out various ways to support herself through creative means, mostly visual but also written forms of expression. The narrative of her life is too often essentialized, establishing clear-cut stages of production, culminating in her well-known collages, such as Collage No. 452 (ca. 1948-54; Fig. 1, PL 14), made in the last few years of her life. And the stimuli that galvanized changes in her art arc too often attributed not to Ryan's own creative energies but to the celebrated figures she encountered, including canonized male artists whose innovations ostensibly set her off in a new direction. Born in Hoboken, New Jersey, Ryan began creating art late in life. Orphaned at age thirteen, she was schooled in a convent, married in 1911, and the mother of three by 1919, separating from her husband soon after. In 1931, she moved with her children to Mallorca, Spain, where she wrote poetry and prose, but after two years, with the rise of Franco, the family returned to New Jersey.
Journal Article