A&C Black’s Printmaking Handbook Series was conceived as an introduction to various topics and techniques relating to making prints. The books are aimed at the student or the practised printmaker who is experimenting in a new area. All of these, plus 8 more, can be found in the NE section of the library.
Installations and Experimental Printmaking
“this book explores new experimental forms of printmaking, including the usage of photo-emulsion, glass and paper, Perspex and paint stripper, printing with sand and digital prints mounted on relief surfaces. This volume also considers the role of the moving image, encaustic (wax) techniques for printing, transferring, collaging and combining traditional prints with wax.”
Intaglio Printmaking
“Although intaglio techniques are usually labeled traditional, they are also among the most popular and widely used techniques in contemporary printmaking. This book introduces the reader to both the direct and indirect techniques and shows examples of an international range of artists whose work will serve as inspiration.”
Creating Artists Books
“This is a practical guide for visual artists who are interested in producing their work in the artist’s book format. It examines the history, methods and practicalities involved in making an artist’s book, using many examples of the work of contemporary artists as illustration.”
Collagraphs and Mixed Media Printmaking
“Collagraphs are prints made from collages; relief sculptures; carved, stripped, or layered plates; or mixed media. In this book, the authors describe a wide range of collagraph techniques, providing the user with practical help on the choice of materials and printing methods to achieve the best results.”
His adventures in performance, audio and video, sculpture, writing and architecture, from the late 1960s through the present have provided countless milestone works for younger artists. This monograph includes both extensive visual documentation from throughout his career and a wide selection of his writings.
Hill’s work in video is about, and is, a new form of writing. In this substantial volume, George Quasha and Charles Stein analyze the artist’s entire career, paying particular attention to the single-channel video works. Covering Hill’s oeuvre, this monograph features a comprehensive chronology of his work, including important production details. A careful selection of key writings by the artist is also included. With 640 pages and more than 900 illustrations, it is the most comprehensive and in-depth treatment of Gary Hill’s work to date, written in close connection with the artist.
significantly to placing the medium of photography in the midst of contemporary art. His compositions in both color and black-and-white maintain a constant dialogue with nineteenth-century genre painting. This substantial monograph collects Wall’s works alongside his writings in 300 pages featuring almost 150 illustrations.
of the veil in contemporary visual arts. Providing a context for the commissioned essays are a number of classical historical texts crossing religions, cultures, genders, and ages—from Greek myths to articles published in the aftermath of September 11, 2001. Some of the contemporary artists and scholars write autobiographically about the meaning of the veil in their lives. Others take a more political approach, discussing, for example, how the events of September 11 changed the use and reception of veil imagery throughout the world. Still others take a historical approach, examining how nineteenth-century technological developments in travel and photography led to photographic depictions of both the veiled and unveiled body in relation to landscape. A number of essays look at the art historical precedents for the current interest in artwork addressing the veil, while others examine how codes of modesty and gender segregation have affected the making and viewing of films in postrevolutionary Iran.
world of wall-hanging tapestry. Three years in the making, the fourteen tapestries in Demons, Yarns and Tales address a range of subjects from fictive landscapes and architectural abstraction to fashion and flora while considering the politics of race, gender, international conflict and the environment. Adjusting to the new medium while adapting to unfamiliar textures and surfaces, each artist has found ways to expand their practice and develop the ongoing themes in their work. Demons, Yarns and Tales sees them translate familiar languages of paint, paper, pencil, ink on canvas, ceramics or wood panel into that of hand woven stitch and silk thread. The artists included in the book are Ghada Amer & Reza Farkhondeh, avaf, Peter Blake, Jaime Gili, Gary Hume, Francesca Lowe, Beatriz Milhazes, Paul Noble, Grayson Perry, Shahzia Sikander, Fred Tomaselli, Gavin Turk, Julie Verhoeven and Kara Walker.
Volume III
career to portraying African Americans seriously rather than as caricatures, hoping that honest African American art would become accepted. Drawing on recently unearthed taped interviews; unpublished paintings and sketches; and her own interviews, Amy M. Mooney examines Motley’s work from the 1920s through the 1940s and discusses his significant contributions to the American art scene.
art critic, author Keith Morrison’s artistic range covers both abstraction and figuration. Jamaican born, Morrison was exposed to both traditional art and the larger global art community; in the United States he studied figure drawing, painting, and printmaking at the School of the Art Institute of Chicago, basing his style of abstraction on geometric forms, music, and geography.
Art Workshop and was the first African American to be named a supervisor for the WPA’s Federal Art Project. Alston was the first African American instructor at both the Art Students League of New York and the Museum of Modern Art and was a professor of painting at the City University of New York. Determined to assist artists who would follow in his footsteps, he cofounded Spiral, a renowned black artists’ alliance.
Kehinde Wiley The World Stage: Africa: Lagos-Dakar (M Wiley .N5 W55 2008)
studios to become familiar with local culture, history and art. His “The World Stage” series is the result of these travels.
Bea Emsbach: Beutezuge im Bodensatz der Wissenschaften (M Emsbach .E636 A4 2002)
Live Forever: Elizabeth Peyton (M Peyto .P428 A4 2008)
naturalistic approach to representation gave way around 1300 to an emphasis on self-expressive, calligraphic brushwork. Elsewhere, two 13th-century paintings – an elegant orchid rendered in sumptuous colors and a pristine monochrome depiction of narcissus – will be placed side by side to illustrate the difference between the art of court academicians and that of the scholar-amateurs.
more. In the 1960s, the Earth Artists started focusing on natural systems and entropy; in the 1970s, photographers in the New Topographics movement turned their attention unsentimentally to the industrialized “man-altered” environment; in the 1980s, artists animated the natural landscape with art, movement, and performance; and in the 1990s, Eco-Artists collaborated with scientists to address sustainability, pollution, and politics. Badlands explores the latest manifestations of artists’ fascination with the earth, gathering work by contemporary artists who approach landscape through history, culture, and science.
the first to focus on Antin’s recent series of large-scale tableaux photographs based on Greek and Roman history and mythology.
artists who expand the boundaries of traditional landscape painting. They embrace the decorative and blur distinctions between art and craft, using materials and techniques—including silicone, wax, collage, and embroidery—that range far beyond paint on canvas. Artists in the exhibition are Rowena Dring, Pia Fries, Jason Gubbiotti, Jim Hodges, David Korty, Kori Newkirk, Katie Pratt, Michael Raedecker, Neal Rock, Lisa Sanditz, Ranjani Shettar, Amy Sillman, and Janaina Tschäpe. This extensively illustrated catalogue features an overview essay, “The Loneliness of the Decorative,” by Wexner Center Chief Curator Helen Molesworth, plus entries on each of the artists by associate curator Claudine Isé.
reevaluation of one of art history’s most popular and important art movements. In Impressionism and the Modern Landscape, James Rubin shifts the focus from familiar scenes of pleasure—the beautiful countryside, people at leisure—to a landscape changing as the result of productivity, technology, and urbanization. He demonstrates not only that the industrial and demographic revolutions of the nineteenth century had a profound impact on art, but also that impressionism was the first art historical movement to embrace such changes. Looking principally at Claude Monet, Camille Pissarro, Alfred Sisley, Armand Guillaumin, and Gustave Caillebotte, Rubin has selected works in four categories: industrial waterways, trains, factories, and photographic viewpoints in the modern city. The examples convey not only these major themes but also the painters’ belief in the progress of civilization through science and industry. 
of the most influential landscapes in Western art. In them, nature is viewed “through the glass of time” and endowed with a poetic quality that has been admired by painters as different as Constable, Turner, and Cézanne. 
than 100 works by artists such as Jean-Baptiste-Camille Corot (1796–1875), Théodore Rousseau (1812–1867), Jean-François Millet (1814–1875), Claude Monet (1840–1926), Gustave Le Gray (1820–1884), and Eugène Cuvelier (1837–1900) explore the French phenomenon of plein-air (open-air) painting and photography in the region of Fontainebleau, a pilgrimage site for aspiring landscape artists. Some 35 miles southeast of Paris, the Forest of Fontainebleau became a magnet for artists and tourists in the 19th century. It was accessible, beautiful, and visually compelling, with a rare mix of traditional rural French villages and natural landscape features, including magnificent old-growth trees, stark plateaus, dramatic rock formations, and stone quarries. Best known for the informal artists’ colony centered in the village of Barbizon, the Forest of Fontainebleau became a nearly obligatory stop for both French and foreign artists, and served as subject and sanctuary, “natural studio” and open-air laboratory for investigating nature. Spanning half a century, from the mid-1820s through the 1870s, this artistic movement gave rise to the Barbizon School of painting and laid the groundwork for impressionism. The forest also inspired a new school of landscape photography, as figures such as Gustave Le Gray and Eugène Cuvelier, working side by side with painters, explored the camera’s potential to reveal nature in a fresh and unadorned manner.
This unique anthology reflects on the aesthetic, cultural, and philosophical meaning of color through the writings of artists and critics, placed within the broader context of anthropology, film, philosophy, literature, and science. Those who loathe color have had as much to say as those who love it. This chronology of writings from Baudelaire to Baudrillard traces how artists have affirmed color as a space of pure sensation, embraced it as a tool of revolution or denounced it as decorative and even decadent. It establishes color as a central theme in the story of modern and contemporary art and provides a fascinating handbook to the definitions and debates around its history, meaning, and use.
This volume surveys the full diversity of our transformed theoretical and critical notions of the archive—as idea and as physical presence—from Freud’s “mystic writing pad” to Derrida’s “archive fever”; from Christian Boltanski’s first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
This collection of writings examines the pervasive and influential role of “the Gothic” in contemporary visual culture. The contemporary Gothic in art is informed as much by the stock themes of the eighteenth- and nineteenth-century Gothic novel as it is by more recent permutations of the Gothic in horror film theory, Lacanian psychoanalysis, and Goth subcultures. This reader from London’s Whitechapel Gallery brings together artists as different as Matthew Barney, Gregor Schneider, Louise Bourgeois, and Douglas Gordon; its intent is not to use “the Gothic” to group together dissimilar artists but rather to shed light on a particular understanding of their practice. Anthony Vidler looks at ideas of the uncanny to explore Rachel Whiteread’s House, and Jeff Wall uses the motif of vampirism to analyze fellow artist Dan Graham’s Kammerspell; Hal Foster considers Robert Gober’s recent work—laden with Christian symbolism, criticism of America as a nexus of power, and fragmented bodies—as an updated American Gothic, and Kobena Mercer examines the Gothic’s depiction of the Other in relation to Michael Jackson’s pop video Thriller. Texts by artists including Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese, and Catherine Sullivan are complemented by extracts from Walpole’s genre-establishing gothic novel The Castle of Otranto, William Gibson, Bret Easton Ellis, and Stephen King, among others, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner, and Slavoj Zizek.
The texts collected in this new reader from London’s Whitechapel Gallery examine what André Breton called the “lightning bolt” of the unsettlingly comic, as seen in the anarchic wordplay of Duchamp, Picasso, the Dadaists, and Surrealists; Pop’s fetish for kitsch and the comic strip; Bruce Nauman’s sinister clowns and twisted puns; Richard Prince’s joke paintings; art ambushed by feminist wit, from the Dadaism of Hannah Höch in the 1920s to the politicized conceptualism of Jenny Holzer and Barbara Kruger in the 1980s; the serenely uncanny in Mike Kelley’s installations and the risibly grotesque in Paul McCarthy’s; and the strangely comic scenarios of artists as various as Maurizio Cattelan, Andrea Fraser, Raymond Pettibon, and David Shrigley. Artists’ writings are accompanied and contextualized by the work of critics and thinkers including Freud, Bergson, Hélène Cixous, Slavoj Zizek, Jörg Heiser, Jo Anna Isaak, and Ralph Rugoff.
Mark Bradford
Seurat’s drawings, this volume surveys the artist’s entire oeuvre—from his academic training and the emergence of his unique methods to the studies made for his monumental canvases. Distinguished writers present important new research on Seurat’s artistic strategies, materials, and themes. Includes 185 color illustrations.”
Sophie Jodoin 
Sophie Jodoin–Drawing Shadows: portraits of my mother
portraiture and the nude through his unblinking scrutiny of the human form. Although he is best known as a painter, etching is integral to his practice. This volume accompanies a major 
categorization, creating sculpture that examines identity, culture and history. This book accompanies a November 2007 
This gorgeous book, the first of a four-volume definitive catalogue, features Chase’s stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase’s oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase’s paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase’s work during the artist’s lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase’s innovative pastel technique.
oil. Each is gorgeously reproduced, and many are published in color for the first time. Finding many of his portraits was especially difficult, as no log book of sitters has been located and no other records exist for those works that were not publicly exhibited. Nevertheless, Ronald G. Pisano’s meticulous research has uncovered more than six hundred portraits in private and public collections.
Baptistery in Florence—called the Gates of Paradise—now in the Museo dell’Opera del Duomo, is nearing completion. 
the newly restored bronze panels, the extraordinary work of the conservators and restorers who cleaned the priceless doors. In a series of fascinating chapters, expert contributors capture Ghiberti’s world, his remarkable talent at representing human emotion in rich illusionistic settings, the relationships between Renaissance patrons and artists, and the collaborations and rivalries among artists. Other chapters explore the challenging craft of bronze sculpture, Ghiberti’s casting and finishing techniques, and the painstaking process involved in documenting and restoring the treasured doors. A chronology of Ghiberti’s life completes this lavishly produced volume”
Santa Maria della Roccella. Here Das Boot, his vessel 8 meters long and weighing 5 tons, has made landfall. Sculpted in wood, it has two figures, one male, the other female, on its two sides. Almost a legendary evocation of an ancient ship. Das Boot appears like a wreck that has surprisingly returned to light in a context extraneous to it. Next to a series of characteristic works in painted wood and bronze that counterpoint the Basilica, the German artist has sought to pay homage to Scolacium, a place preserved for centuries by the olive trees. He symbolically crowns the Park of La Roccelletta with his Krone, a crown made up of 22 pieces in concrete with nine heads likewise in concrete. The project is completed by the retrospective exhibition in the nearby Olive Press Museum with a selection of works from the late nineties down to the present.
which his chosen style acquires a wholly extraneous allegorical and paradoxical force. Working on this theme, the Belgian artist has already presented his works in different contexts, but the project set in the Park of Scolacium is surely one of the most impressive and ambitious. Delvoye has created a true construction site in which each machine is transformed into a work of art frozen in its inactivity. The two mysterious Caterpillars nine meters tall have an extraordinary impact, as does the Dump Truck, another nine-meter vehicle: they transform the Park into a permanent construction site, opened during the exhibition with excavators, signals and barriers all strictly laser cut in corten steel with tracery patterns in which the fourteenth and fifteen centuries are blended with industrial design.
fragment and uses the context of the Roman Theater as the setting for Flesh, a series of bronzes with a black patina in which the British artist investigates the organic element by presenting on the stage meat carcasses that, within the archaeological context, acquire the semblances of truly spectral figures. For the first time, he here exhibits two very recent works in concrete, the Hoxton Venus of 2006 and Totem of 2007, true fragments of contemporaneity. The installation is continued conceptually within the Archaeological Museum of Scolacium, which he uses as the setting for three white marble sculptures, Alexandra Westmoquette, Tom Yendell and Peter Hull. In this case the fragment underlies a new unity and is directly related to the headless ancient Roman sculptures, so creating a series of comparisons and richly productive relationships.
“Unmonumental” is an exhibition about fragmented forms, torn pictures and clashing sounds. Investigating the nature of collage in contemporary art practices, “Unmonumental” also describes the present as an age of crumbling symbols and broken icons. Inspired by the art it presents, “Unmonumental” grows over time like an assemblage. It starts as a survey of recent sculpture, and morphs as layers of images, sounds, and Internet-based art are added in three subsequent parts.
The first exhibition in the cycle, “
“A unique anthology of articles on contemporary sculptors drawn from the 25-year history of Sculpture magazine, A Sculpture Reader offers a valuable overview of three dimensional art since 1980. Focusing on individual artists rather than themes or movements, the 42 essays in A Sculpture Reader capture the wide-ranging possibilities that characterize contemporary sculpture.”
“In 1977, Romare Bearden (1911–1988) created twenty collages based on episodes from The Odyssey, Homer’s ancient Greek poem. 
acrylic on wood panels. Dressed in protective outdoor clothing, the subjects are often seen in three-quarter profile or from behind, with their heads bowed or covered with a hood, so that we are rarely allowed to meet the models’ gaze. Each of them is set against a neutral, all-white background, setting off the figure in a vague space that lacks any real depth. His paintings suggest multiple references to art history, in particular to certain Renaissance portraits, but remain firmly rooted in the present.
Panic Attack! Art in the Punk Years (
The works, loaned by the Roy Lichtenstein Foundation, New York; Fondation Beyeler, Riehen/Basel; The Eli and Edyth L. Broad Collection, Los Angeles; and other private collections, offer scenarios that reveal Lichtenstein’s sources: there are popular figures from the cartoon world such as Dagwood, Tintin and Donald Duck. There are protagonists from girls’ comics like Girls’ Romances, Heart Throbs and Secret Hearts, or true classic symbols such as the Hellenistic Laocöon, landscapes by van Gogh and Cézanne, bathers and portraits by Picasso, nudes and interiors by Matisse, Monet’s waterlilies and Brancusi’s endless column. There are also diverse themes from art history, such as the landscapes of Chinese painting, still lifes and studio models, representations of interiors – that also allude to the artist’s own interiority – and exteriors that refer to the public domain. They are references with which Lichtenstein dialogues, and to which he pays, with his characteristic appropriations, particular homage, thus managing to popularize themes of high culture, integrating it with the images from mass media and opening a pathway to new readings and perspectives.”
