PART I | PART II | PART III | PART IV | PART V | PART VI | PART VII

Working States

 

Part IV: Exhibit and Museum Catalogues and Notices:

 

Bruer, Karen, Stephen A. Nash, and Ruth Fine. Thirty-Five Years At Crown Point Press: Making Prints, Doing Art. San Fran cisco: University of California P, 1997.

A retrospective of Crown Point Press’ extensive influence on the technique and subject of printmaking, this exhibit catalogue contains almost 800 reprints, and thus represents the entire collection of prints that this innovative press has helped issue to date.

Caperton, John. “Accomplish That Creative: Hester Stinnett’s Transcriptions.” 28 July 2008.

http://www.philagrafika.org/pdf/WS/Accomplish_that_Creative.pdf

John Caperton is the Curator of Prints and Photographs at The Print Center, Philadelphia. He wrote this essay as an introduction to Hester Stinnett’s exhibition Transcriptions at the Kelly & Weber Fine Art Gallery in March/April 2008. Her work presented the scribbled notes of Joseph Conrad alongside the calligraphy of her ailing mother - a compel ling pairing which Caperton describes with insight. Hester Stinnett is currently Professor of Printmaking at the Tyler School of Art of Temple University.

Coronel, Ana Maria. L’Estampe in France: Thirty-Four Young Artists. Exhibit at the Inter-American Development Bank, Cul tural Center, Feb 19 – April 30, 1999. Washington, D.C.

Ana Maria Coronel introduces an exhibit that concentrates on what French artists have brought to graphics from the times of Gustave Dore to the present. This exhibit intended to highlight France’s international role – both visual and technical – within the graphics world, but from a location within the American capital.

Curran, John W., Vincent Katz, and Jacqueline Van Rhyn. Imprint: a Public Art Project. Philadelphia: The Print Center, 2002.

The Philadelphia Print Center initiated the Imprint project with six artists, experimenting with public reactions to plac ing art in public contexts: billboards, coffee cups, etc. Virgil Marti, Dottie Attie, John Coplans, Susan Fenton, Kerry James Marshall, and James Millis all produced work that would confront and surprise both the uninformed and the informed public by invading the city with art. The catalogue includes essays about the project and brief descriptions of the artists’ interests and carreers.

Edmunds, Allan, ed. Three Decades of American Printmaking: the Brandywine Workshop Collection. New York: Hudson Hills P, 2004.

This anniversary catalogue of the Brandywine Workshop’s large and diverse collection emphasizes the communicative power of the print.

Glueck, Grace. “Art”, The New York Times. 14 February 1988.

http://query.nytimes.com/gst/fullpage.html?res=940DE6D61038F937A25751C0A96E948260

Grace Glueck provides a brief description of the Committed to Print exhibit at the Museum of Modern Art in New York, and discusses, briefly, the traditionally political and communicative nature of prints.

Harrison, Helen A. “When Painters Turn To Prints”, The New York Times. 22 March 1987.

Helen Harrison discusses works in an exhibit of pieces from collaborative printmaking workshops, examining how the style of painters translates into printed works and why painters are turning to printmaking as an alterna tive art-making process.

Iannaccone, James. “Doc Art.” Anchor Graphics @ Columbia College Chicago. 2007.

In this brief article, Iannaccone introduces the work of Dr. Eric Avery, who uses prints and paintings as contextualizing elements for the art of medicine. His performance pieces often have artwork hanging on the walls as patients are tested for HIV/AIDS or Hepatitis in front of an audience. Iannaccone also concentrates on a series of three prints that Dr. Avery completed at Anchor Graphics.

Imagined Worlds: Willful Invention and the Printed Image 1470-2005. New York: Axa Gallery and International Print Center, 2005.

Imagined Worlds, an exhibit held at the Axa Gallery in conjunction with the International Print Center in New York City, makes an academic and inventive survey of a large expanse of print history. The three essays contained within this catalogue (authored by Amy Baker Sandback, Nils Buttner, and Sarah Richards) explore the ways in which prints and images brought imagination and reality together, served as mediums through which to explore and locate the ever-important Paradise, and represented material and intellectual culture. Ultimately, all three pieces allude to the popular ity of prints and their ability to shape public consciousness – from the early eschatological prints of Albrecht Durer and Peter Breugel to the future-predicting comics of the 50s and 60s.

Jones, Bill. “The Painted Photograph.” ConeTech. Cone Editions Press, Ltd. 29 May 2008.

http://www.inkjetmall.com/store/info/media/paintedword1.html

This essay was originally published in Digital Collaborations for Real Projects, an exhibit catalogue dedicated to works that were produced in collaboration with Jon Cone of Cone Editions Press. The exhibit took place at the Real Gallery in New York, New York, from Dec 6, 1997 to Feb 22, 1998 and was curated by Eric Great-Rex.

Bill Jones surveys the work of David Humphrey, Cathy Cone, Yasumasa Morimura, Mark Hampson, and Eric Great-Rex. All of these artists, working with Jon Cone, used traditional methods in combination with new digital technology to manipulate and assert authorship over the photograph.

Muñoz, Óscar. Inmemorial.

An exhibition catalogue of Óscar Muñoz’s solo show entitled Inmemorial, this book inludes several quotes from the artist, an introduction by Jose Roca, an interview (which addresses his early carreer, family, and arrival at his current works), and many images of Muñoz’s artwork. Dealing with narcissism, memory, history, and war, the complexity of Muñoz’s work and its underlying ideas is fully represented within this catalogue.

Nash, Stephen A. “Curator’s Essay on Enrique Chagoya.” Segura Publishing Company.

Stephen Nash describes Enrique Chagoya’s art as drawing upon “the complex fabric of life” of someone whose experience has been between the “new world” of American culture and “the “old world” of [a] rich Mexican heritage, including its diverse strains of Catholicism, ancient history and beliefs, Spanish colonialism, and modern politics.” Appropriating such American icons as Mickey Mouse and Olive Oyl, Chagoya subverts our familiar visual tropes, re-contextualizing these well-known images in order to formulate his painterly considerations of immigration, cross-culturalism, and history.

Nash, Stephen A. “From Paper To Canvas: Prints and the Creative Process.” Thirty-Five Years At Crown Point Press: Making Prints, Doing Art. San Francisco: University of California P, 1997. 55-65.

Stephen Nash discusses prints by Chuck Close, Pat Steir, and Sol LeWitt among others – all of whom worked at Crown Point Press – to argue for the aid that printmaking can bring to an artist’s creative process. He contends, ulti mately, that it is the “interactive relationship between printmaking and work in other spheres, with complex, back-and-forth reverberations of search and discovery, trial and error, cause and effect that characterizes the methodologies of all the artists considered here and many others.” Nash takes the success and conceptual acuteness achieved by the above mentioned artists to be an indication of the importance and efficacy of this collaborative process that – he emphasizes – is not “self-duplication.”

Poly/Graphic San Juan Triennial: Latin America and the Caribbean. San Juan, Puerto Rico: Instituto de Cultura Puertor riqueña, 2004.

This is a catalogue from the San Juan Triennial with essays by curators for this groundbreaking exposition, which broke from its traditional print boundaries and showed innovative use of print and the printed image.

Ruzicka, Joseph, Jack Lemon, Vernon Fisher, and Mark Pascale. Landfall Press: Twenty-Five Years of Printmaking. Milwakee: Milwakee Art Museum, 2005.

This catalogue documents Jack Lemon’s press and its twenty-five year long collaboration with artists such as Claes Oldenburg and Sol LeWitt.

Stroud, Marion Boulton. New Material as New Media: The Fabric Workshop and Museum. Cambridge, MA: The MIT P, 2002.

Published during the Fabric Workshop and Museum’s 25th year of activity, this catalogue contains interviews, artist profiles, and exhibit summaries along with many full-color images of the work that has been created and displayed at this foundation. The works all include or treat with fabric, but range from all kinds of multicultural backgrounds and contemporary movements. Some of the featured artists are Roy Lichtenstein, Claes Oldenburg, Virgil Marti, Kiki Smith, and Lee Mingwei.



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