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A leading art historian presents a new grammar for understanding
the meaning and significance of print In process and technique,
printmaking is an art of physical contact. From woodcut and
engraving to lithography and screenprinting, every print is the
record of a contact event: the transfer of an image between
surfaces, under pressure, followed by release. Contact reveals how
the physical properties of print have their own poetics and
politics and provides a new framework for understanding the
intelligence and continuing relevance of printmaking today. The
seemingly simple physics of printmaking brings with it an array of
metamorphoses that give expression to many of the social and
conceptual concerns at the heart of modern and contemporary art.
Exploring transformations such as reversal, separation, and
interference, Jennifer Roberts explores these dynamics in the work
of Christiane Baumgartner, David Hammons, Edgar Heap of Birds,
Jasper Johns, Corita Kent, Glenn Ligon, Julie Mehretu, Robert
Rauschenberg, and many other leading artists who work at the edge
of the medium and beyond. Focusing on the material and spatial
transformations of the printmaking process rather than its
reproducibility, this beautifully illustrated book explores the
connections between print, painting, and sculpture, but also
between the fine arts, industrial arts, decorative arts, and
domestic arts. Throughout, Roberts asks what artists are learning
from print, and what we, in turn, can learn from them. Published in
association with the Center for Advanced Study in the Visual Arts,
National Gallery of Art, Washington
The first comprehensive overview of Jasper Johns's work in an
innovative medium that the artist has singlehandedly redefined over
the course of four decades Jasper Johns (b. 1930) is arguably the
most important living American artist, and his work is central to
any history of postwar art. With extensive new scholarship based on
original research and interviews with the artist, Jasper Johns:
Catalogue Raisonne of Monotypes provides the definitive account of
his groundbreaking work in an intrinsically subversive medium
situated between painting, drawing, and printmaking. Susan
Dackerman and Jennifer L. Roberts examine Johns's innovative use of
the printing press to create alterity, overturning monotype's
long-standing reputation for subjectivity. Featured in this volume
are all 143 monotypes Johns made between 1954 and June 2015, most
of them published here for the first time. Each work is generously
illustrated in color and accompanied by complete cataloguing
information, including technical specifications, provenance,
exhibition history, and bibliographic references.
Transporting Visions follows pictures as they traveled through and
over the swamps, forests, towns, oceans, and rivers of British
America and the United States between 1760 and 1860. Taking
seriously the complications involved in moving pictures through the
physical world--the sheer bulk and weight of canvases, the delays
inherent in long-distance reception, the perpetual threat to the
stability and mnemonic capacity of images, the uneasy mingling of
artworks with other kinds of things in transit--Jennifer L. Roberts
forges a model for a material history of visual communication in
early America. Focusing on paintings and prints by John Singleton
Copley, John James Audubon, and Asher B. Durand--which were
designed with mobility in mind--Roberts shows how an analysis of
such imagery opens new perspectives on the most fundamental
problems of early American commodity circulation, geographic
expansion, and social cohesion.
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Scale (Paperback)
Jennifer L. Roberts
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R723
Discovery Miles 7 230
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Ships in 12 - 17 working days
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Scale is perhaps the most spectacularly overlooked aspect of
artistic production. As photographic and digital reproductions have
essentially dematerialized art, critical and historical research
dealing with scale--both within the American critical tradition and
abroad--has become scattered and insufficiently theorized. However,
by posing a specific challenge, such research forces a heightened
recognition of both the properties of materials and the deep
technical knowledge of makers. A reconsideration of scalar
relationships in American art and visual culture therefore reveals
original insights. Scale is the second volume in the Terra
Foundation Essays series. With eighty color illustrations and a
wealth of new research from Glenn Adamson, Wendy Bellion, Wouter
Davidts, Darcy Grimaldo Grigsby, Christopher P. Heuer, Joshua G.
Stein, and Jason Weems, it explores viewers' physical relationship
to Barnett Newman's abstract canvases, the arduous engineering
behind the creation of Mount Rushmore, and the charged significance
of liberty poles in the landscape of eighteenth-century New York,
among other topics that range from studies of specific works of art
to significant conceptual and theoretical concerns.
Harvard College's 18th-century Philosophy Chamber consisted of
paintings, prints, sculptures, scientific instruments, natural
specimens, and various indigenous artifacts-it was a rich and
varied representation of not only artistic and cultural achievement
but also contemporary understandings of the natural world.
Dispersed and hidden away for nearly 200 years, this unrivaled
collection has been reunited for the first time since it was
originally assembled, providing an invaluable window into the art
and culture of early America. It attests to the wide-ranging spirit
of inquiry that characterized the late 18th and early 19th
centuries. With an insightful look at conservation efforts and
detailed examination of specific objects, including works by
artists such as John Singleton Copley and John Trumbull, this
publication explores the social and political stakes that
underpinned one of the most remarkable assemblages of artifacts,
images, and objects in the Atlantic World, and introduces readers
to many long-forgotten icons of American culture. Distributed for
the Harvard Art Museums Exhibition Schedule: Harvard Art Museums
(05/19/17-12/31/17) The Hunterian, University of Glasgow
(03/23/18-06/24/18)
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