Archive for the ‘New Books’ Category


February 23, 2010

Three recent presentations. Library resources for: 

1) Contemporary Art

2) Foundations in Writing (Monday)

3) Foundations in Writing (Wednesday).

Be patient, the files might take some time to download.


Printmaking Handbooks

September 24, 2009

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.”


August 25, 2009

Three volumes from Ediciones Poligrafa’s 20_21 collection

Vito Acconci: Writings, Works, Projects (M Accon .A4 2001)
Essays by Vito Acconci and Gloria Moure.

The work of Vito Acconci is among the most influential of the last 30 years. 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.

An Art of Limina: Gary Hill’s Works and Writings ( M HillG .Q37 2009 ) 
Foreword by Lynne Cooke. Text by George Quasha, Charles Stein.

Gary Hill is one of the most influential contemporary artists to investigate the myriad relationships between words and electronic images.  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.

Jeff Wall: Works and Collected Writings ( M Wall .J44 2007 )
Essay by Michael Newman. Writings by Jeff Wall.

For more than 20 years, Jeff Wall’s pioneering work has contributed 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.


August 25, 2009

Veil: Veiling, Representation, and Contemporary Art ( GT 1380 .V45 2003 )  Veil, which accompanies an exhibition organized by the Institute of International Visual Arts in London, explores the representation 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.

Demons, Yarns and Tales: Tapestries by Contemporary Artists ( NK 3007.86  .D46 2008 ) Fifteen internationally renowned artists explore a medium foreign to their usual practise, experimenting within the lost 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.

The David C. Driskell Series of African American Art

August 20, 2009

The David C. Driskell Series of African American Art

Volume III: Faith Ringgold ( M Ringg .F37 2004 ) Faith Ringgold is an accomplished painter, sculptor, printmaker, and an art quilter. Selected works from several of her famous series are presented, including The Flag Is Bleeding, Help: the Slave Rape Series #11, The Purple Dolt Series, Mother’s Quilt, and We Came to America.

Volume IV: Archibald J. Motley Jr. ( M Motle .M66 2004 ) Archibald J. Motley Jr. (1891–1981) devoted his prodigious and critically acclaimed 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.

Volume V: Keith Morrison ( M Morri .A84 2005 ) Artist, academician, 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.

Volume VI: Charles Alston ( M Alsto .W37 2007 )  Charles Alston (1907–1977) helped establish the Works Progress Administration’s Harlem 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

January 29, 2009

Kehinde Wiley       The World Stage: Africa: Lagos-Dakar (M Wiley .N5 W55 2008)

From the Studio Museum HarlemThe World Stage: Africa, Lagos ~ Dakar is Kehinde Wiley’s (b. 1977) first solo exhibition at The Studio Museum in Harlem and features ten new paintings from his multinational “The World Stage” series. Wiley is known for his stylized paintings of young, urban African-American men in poses borrowed from eighteenth- and nineteenth-century European figurative paintings, a practice he started in the early 2000s while an artist in residence at the Studio Museum. Over the last two years, Wiley has expanded his project by living and working abroad; he temporarily relocates to different countries and opens satellite wileystudios to become familiar with local culture, history and art. His “The World Stage” series is the result of these travels.

Wiley’s first trip was to China, where he placed his models in poses based on Chinese propaganda art from the Cultural Revolution. The World Stage: Africa, Lagos ~ Dakar, organized by Christine Y. Kim, features paintings from Wiley’s next stops, Senegal and Nigeria. For this exhibition, Wiley’s models mimic historical public sculptures from Dakar, Senegal, and Lagos, Nigeria. Wiley received a BFA from the San Francisco Art Institute in 1999 and an MFA from the Yale School of Art in 2001 before becoming an artist in residence at the Studio Museum. His work is represented in the collections of several museums, including the Walker Art Center, Minneapolis; Brooklyn Museum; Denver Art Museum and Virginia Museum of Fine Art.”

New Book

January 29, 2009


Bea Emsbach: Beutezuge im Bodensatz der Wissenschaften (M Emsbach .E636 A4 2002)

From DAP ” In the intersection of comics, biotechnology, fairly tales, and science fiction lies the work of  Bea Emsbach Through the characteristic precision of her blood-red ink drawings, Emsbach creates scenarios–real and unreal–that serve to perturb and transfix the viewing eye. She designs imaginary scenarios of the future, traversing various pictorial worlds as a matter of course. Strange beings evolve as a result–peculiar mutants, hybrid humanoid creatures, entangled in bizarre situations and bound together with veins, tubes, and cords. This publication provides a comprehensive overview of Emsbach’s pen drawings from 1995 onwards (these comprise the body of her work), as well as selected lesser-known installation and object work.” Essays by Beate Ermacora, Verena Kuni, Annelie Pohlen and Edwin Schâfer.

New Book

January 29, 2009

Live Forever: Elizabeth Peyton (M Peyto .P428 A4 2008)

From The New Museum  “Live Forever: Elizabeth Peyton is the first survey of Elizabeth Peyton’s work in an American institution. The survey will include more than 100 works made over the past fifteen years.


Peyton’s oeuvre can be read in chapters, each of which feature portraits of friends, family, personal heroes, and fleeting passions. Live Forever: Elizabeth Peyton will offer a visual biography of the artist, and at the same time create a snapshot of the popular culture of the past decade.

From her earliest portraits of musicians like Kurt Cobain, Liam Gallagher, and Jarvis Cocker to more recent paintings featuring friends and figures from the worlds of art, fashion, cinema, and politics including Rirkrit Tiravanija, Matthew Barney, and Marc Jacobs, Elizabeth Peyton’s body of work presents a chronicle of America at the end of the last century. A painter of modern life, Peyton’s small, jewel-like portraits are also intensely empathetic, intimate, and even personal. Together, her works capture an artistic zeitgeist that reflects the cultural climate of the late-twentieth and early-twenty-first centuries.”

See the exhibition’s website here.

New Book

November 12, 2008

How to Read Chinese Paintings (ND1042 .H43 2008)

The catalog How to Read Chinese Paintings accompanies an installation from The Metropolitan Museum of Art which studies 36 paintings and calligraphies from the Museum’s collection. Spanning 1,000 years of Chinese art history, from the 8th to the 17th century, the display will examine many of the Museum’s finest paintings, including figures, landscapes, flowers, birds, and religious subjects.

The installation groups related works to demonstrate different artistic approaches to the same subject. For example, four images of pine trees will illustrate the revolutionary transformation that occurred in Chinese painting between the 12th and the 14th century. Details of each painting will demonstrate how a more 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.

Other meaningful juxtapositions include two works by the recluse-artist Ni Zan (1306-1374), revealing how personal trauma impacted his art. Two images of eagles – one by the 15th-century professional painter Lin Liang (ca. 1416-1480) and the other by the 17th-century Ming loyalist Zhu Da (Bada Shanren, 1626-1705) – will demonstrate how the latter artist turned a courtly subject into a powerful image of dissent and defiance. And three different ways of presenting Buddhist holy men will be on view: an imperially commissioned “iron-wire” drawing dated 1308 by the court painter Wang Zhenpeng (act. ca. 1280-1329), a comic fantasy by the late 16th-century eccentric Wu Bin (active ca. 1583-1626), and a devotional tour de force by the 25-year-old Buddhist monk Shitao (1642-1707).

New Landscape

November 12, 2008

Badlands:New Horizons in Landscape (N 8213 .B33 2008)

The artist’s relationship to landscape was once invoked by a canvas on an easel in a picturesque vista. No 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.

Badlands, which accompanies an exhibition at MASS MoCA, approaches landscape as a theme with variations, grouping artists and their art (which is shown in 150 color illustrations) by category: Historians, who recontextualize the history of landscape depiction; Explorers, who explore the environment and our place within it; Activists and Pragmatists, who alert us to problems in the natural world and suggest solutions; and the Aestheticists, who look at the beauty found in nature. Each section begins with an essay: Gregory Volk maps the evolution of the genre from the Hudson River School to Earth Art; Ginger Strand examines the relationship between man and landscape through our cultural history; Tensie Whelan discusses environmental science, sustainability, and climate change; and Denise Markonish considers the new genre of landscape that emerges from the work displayed in Badlands.

As a physical object, Badlands supports the values represented by its intellectual and artistic content: it was produced using FSC (Forest Stewardship Council) certified techniques including paper, printing, and inks.

Artists: Robert Adams, Vaughn Bell, Boyle Family, Melissa Brown, Center for Land Use Interpretation, Leila Daw, Gregory Euclide, J. Henry Fair, Mike Glier, Anthony Goicolea, Marine Hugonnier, Paul Jacobsen, Mitchell Joachim/ Terreform, Nina Katchadourian, Jane Marsching, Alexis Rockman, Ed Ruscha, Joseph Smolinski, Yutaka Sone, Jennifer Steinkamp, Mary Temple.