Details
Perspectives on contemporary printmaking
Critical writing since 1986|
40,99 € |
|
| Verlag: | Manchester University Press |
| Format: | EPUB |
| Veröffentl.: | 23.07.2018 |
| ISBN/EAN: | 9781526125767 |
| Sprache: | englisch |
| Anzahl Seiten: | 368 |
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Beschreibungen
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.
The anthology provides a critical topography of printmaking since the mid-1980s. Its texts, by well-known authors as well as ‘insiders’, span different formats and critical and theoretical approaches.
Introduction
<b>Part I: Genealogy</b>
Beat Wyss – Fragments for an art history of media: electr(on)ic thinking (1997)
Ernst Rebel – The technical gaze: the parallel world of photography (2003)
Frances Robertson – Post-print culture? (2013)
<b>Part II: Debates </b>
Ruth Weisberg – The syntax of the print: in search of an aesthetic context (1986)
Richard S. Field – Sentences on printed art (1994)
Kathryn Reeves – The re-vision of printmaking (1999)
Andrzrej Bednarczyk – The shape of graphic art (2010)
José Roca – The graphic unconscious or the how and why of a print triennial (2011)
Richard Harding – Print as other: the future is queer (2013)
Barbara Balfour – The what and the why of print (2016)
<b>Part III: Keywords</b>
Ernst Rebel – Coordinates of a history of the technical image (2003)
Susan Lambert – The status of the reproduction (1988)
Clare Humphries – Benjamin’s blindspot: aura and reproduction in the post-print age (2015)
K. E. Gover – Are all multiples the same? The problematic nature of the limited edition (2015)
Frieder Nake – Printing plates and pixel matrix: the mechanisation of memory (2010)
Georges Didi-Huberman – Opening up an anachronistic point of view (1997)
Deirdre Brollo – Untying the knot: memory and forgetting in contemporary print work (2013)
Yara Flores – Spirit duplication (2010)
Catherine Brooks – Three ways to use yellow (2014)
Amze Emmons, R.L. Tillman and Jason Urban – On the manual (In the manual) (2014)
Nicky Coutts – Animal print suicide (2014)
<b>Part IV: The field</b>
Daniel F. Herrmann – Edinburgh Printmakers and the notion of the workshop (2007)
Jeremy Lewison – Projects and portfolios: narrative and structure (1995)
Gill Saunders – Lasting impressions? A museum perspective on digital fine art printmaking (2009)
Sheryl Conkelton – Print and the public sphere (2011)
Johanna Drucker – The work event: art in the distributed field and systems of production (2013)
Eric Triantafillou – All the instruments agree (2010)
Mari Carmen Ramírez – Stamping (molding) marks: the San Juan Triennial tracking the new century (2004)
Shang Hui – Chinese printmaking in the twenty-first century: new horizons and energies (2011)
Matthew Perkins – What is ’studio’ in the post-disciplinary age? (2011)
Amanda Thomson – Making a place: art and a multi-modal, multi-disciplinary approach (2014)
R. L. Tillman – Failures, irritations and grief in printing: in search of Manly Banister, an excerpt from an unpublishable memoir (2014)
Index
<b>Part I: Genealogy</b>
Beat Wyss – Fragments for an art history of media: electr(on)ic thinking (1997)
Ernst Rebel – The technical gaze: the parallel world of photography (2003)
Frances Robertson – Post-print culture? (2013)
<b>Part II: Debates </b>
Ruth Weisberg – The syntax of the print: in search of an aesthetic context (1986)
Richard S. Field – Sentences on printed art (1994)
Kathryn Reeves – The re-vision of printmaking (1999)
Andrzrej Bednarczyk – The shape of graphic art (2010)
José Roca – The graphic unconscious or the how and why of a print triennial (2011)
Richard Harding – Print as other: the future is queer (2013)
Barbara Balfour – The what and the why of print (2016)
<b>Part III: Keywords</b>
Ernst Rebel – Coordinates of a history of the technical image (2003)
Susan Lambert – The status of the reproduction (1988)
Clare Humphries – Benjamin’s blindspot: aura and reproduction in the post-print age (2015)
K. E. Gover – Are all multiples the same? The problematic nature of the limited edition (2015)
Frieder Nake – Printing plates and pixel matrix: the mechanisation of memory (2010)
Georges Didi-Huberman – Opening up an anachronistic point of view (1997)
Deirdre Brollo – Untying the knot: memory and forgetting in contemporary print work (2013)
Yara Flores – Spirit duplication (2010)
Catherine Brooks – Three ways to use yellow (2014)
Amze Emmons, R.L. Tillman and Jason Urban – On the manual (In the manual) (2014)
Nicky Coutts – Animal print suicide (2014)
<b>Part IV: The field</b>
Daniel F. Herrmann – Edinburgh Printmakers and the notion of the workshop (2007)
Jeremy Lewison – Projects and portfolios: narrative and structure (1995)
Gill Saunders – Lasting impressions? A museum perspective on digital fine art printmaking (2009)
Sheryl Conkelton – Print and the public sphere (2011)
Johanna Drucker – The work event: art in the distributed field and systems of production (2013)
Eric Triantafillou – All the instruments agree (2010)
Mari Carmen Ramírez – Stamping (molding) marks: the San Juan Triennial tracking the new century (2004)
Shang Hui – Chinese printmaking in the twenty-first century: new horizons and energies (2011)
Matthew Perkins – What is ’studio’ in the post-disciplinary age? (2011)
Amanda Thomson – Making a place: art and a multi-modal, multi-disciplinary approach (2014)
R. L. Tillman – Failures, irritations and grief in printing: in search of Manly Banister, an excerpt from an unpublishable memoir (2014)
Index
Ruth Pelzer-Montada is an artist and Lecturer in Contemporary Art and Visual Culture at Edinburgh College of Art, The University of Edinburgh
This unique anthology presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present. The essays range from academic art history to popular art criticism and creative writing; taken together, they form a critical topography of printmaking today.
The book’s four sections provide:
· A genealogy of printmaking and print culture
· A sample of debates on contemporary printmaking, beginning with Ruth Weisberg’s influential ‘The syntax of print’ (1986)
· A range of critical terms and themes
· Examples of some of the major spheres of print activity, such as production, collecting, dissemination, education and research
Drawing on a cast of distinguished scholars, artists and curators, the book makes available a selection of widely dispersed and difficult-to-find texts. This includes extracts from works not yet available in English, such as <i>Die Welt als T-Shirt </i>(1997) by Beat Wyss and <i>La Ressemblance par contact </i>(2008) by Georges Didi-Huberman. There are also contributions from scholar and book artist Johanna Drucker, mathematician and computer artist Frieder Nake, curators Daniel F. Herrmann, Gill Saunders and Mari Carmen Ramírez, and the editors of the award-winning website Printeresting.
Featuring an overall introduction by the editor, as well as introductions to each of the sections, the anthology is aimed at an audience of international stakeholders in the field of contemporary prints, printmaking and print media, ranging from art students and practising artists to museum curators, critics, educationalists and scholars. It provides the basis for an expansion of the debate in the field and a starting point for further research.
The book’s four sections provide:
· A genealogy of printmaking and print culture
· A sample of debates on contemporary printmaking, beginning with Ruth Weisberg’s influential ‘The syntax of print’ (1986)
· A range of critical terms and themes
· Examples of some of the major spheres of print activity, such as production, collecting, dissemination, education and research
Drawing on a cast of distinguished scholars, artists and curators, the book makes available a selection of widely dispersed and difficult-to-find texts. This includes extracts from works not yet available in English, such as <i>Die Welt als T-Shirt </i>(1997) by Beat Wyss and <i>La Ressemblance par contact </i>(2008) by Georges Didi-Huberman. There are also contributions from scholar and book artist Johanna Drucker, mathematician and computer artist Frieder Nake, curators Daniel F. Herrmann, Gill Saunders and Mari Carmen Ramírez, and the editors of the award-winning website Printeresting.
Featuring an overall introduction by the editor, as well as introductions to each of the sections, the anthology is aimed at an audience of international stakeholders in the field of contemporary prints, printmaking and print media, ranging from art students and practising artists to museum curators, critics, educationalists and scholars. It provides the basis for an expansion of the debate in the field and a starting point for further research.
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