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Perspectives on contemporary printmaking

Critical writing since 1986

Edited by Ruth Pelzer-Montada

Perspectives on contemporary printmaking

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Book Information

  • Format: Paperback
  • ISBN: 978-1-5261-2575-0
  • Pages: 352
  • Publisher: Manchester University Press
  • Price: £25.00
  • Published Date: July 2018
  • BIC Category: History, Early 21st century c 2000 to c 2050, Prints & printmaking, History of art, HISTORY / General, Prints & Printmaking, The arts / History of art / art & design styles

Description

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.

Reviews

'This will be a significant and important contribution to the field and practice of printmaking and print media. The volume will be vital in MFA professional practice classes, and on theory and art historical courses.'
Mary Hood, Artist

Editor

Ruth Pelzer-Montada is an artist and Lecturer in Contemporary Art and Visual Culture at Edinburgh College of Art, The University of Edinburgh

Contents

Introduction
Part I: Genealogy
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)
Part II: Debates
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)
Part III: Keywords
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)
Part IV: The field
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

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