Printmaking

This article explores the emergence and significance of printed game boards in Rome at the turn of the seventeenth century. These objects constitute an important and overlooked visual and material aspect of a pervasive culture of gaming that engrossed a huge range of the populace: both the rich and the poor, men and women, the educated and the illiterate. Printed game boards not only served to entertain, but also mirrored and reified deeper social and moral concerns about gambling and leisure, a tension between the prescribed morality of the legal sanctions, decrees, and censures associated with the Counter-Reformation, and the everyday games common both in courtly leisure and play on the street and in the tavern. Visually manifesting a dual understanding of games as both ludic and mimetic, printed game boards enacted the ontology of life’s journey for early modern players, from the courtly, to the religious, to the quotidian.

HANDBOOK: Supporting Queer and Trans Students in Art and Design Education


Edited by Anthea Black and Shamina Chherawala


HANDBOOK: Supporting Queer and Trans Students in Art and Design Education is the first student-authored resource book of its kind. It offers faculty a radical rethink on how to work with queer and transgender students on their path to becoming artists and designers – from the first day of school through to seminars, studio classes, and critiques. HANDBOOK draws directly from student experiences to help faculty of all orientations bring equitable teaching practices and queer curricula into art and design classes.


HANDBOOK is a collaborative intervention in art and design pedagogy. Queer Publishing Project was a working group of over 100 students, alumni, staff and faculty at OCAD University and beyond who identify as queer and/or transgender.


Handbook: Supporting Queer and Trans Students in Art and Design Education
$20 CDN, first edition 2018, out of print
Publisher: OCAD University and Queer Publishing Project
Distribution: Art Metropole
ISBN: 978-1-77252-006-4


Editors: Anthea Black and Shamina Chherawala
Graphic Design: Cecilia Berkovic
Production: Nick Shick
Illustration: Morgan Sea
112 colour pages with gatefold letterpress cover, printed by Nick Shick, Anthea Black, and Queer Publishing Project at OCAD University Printmaking and Publications on Vandercook Universal and No. 4 presses. Edition of 1,200.


LAUNCHES:
Alberta College of Art and Design, Calgary, Canada March 9-10, 2018.
Art Metropole, Toronto, Canada, March 21, 2018.
OCAD University Student Union and Office for Diversity Equity and Sustainability, Toronto, Canada, March 22, 2018.
California College of the Arts, San Francisco, USA, October 2018.
OR Gallery, Vancouver, Canada, October 2018.
Artexte Information Centre, Montreal, Quebec, October 2018.


LECTURES:
Anthea Black, Queer Publishing as Pedagogy talk, presented by Queer Conversations in the Arts and Culture, California College of the Arts, San Francisco, October 2018.
https://www.youtube.com/watch?v=rY2ROvlQNGA&feature=youtu.be

A conversation with Anthea Black, Kama LaMackerel (Our Bodies, Our Stories), and Jenny Lin (B&D Press) and Q&A with Production Mentor and Lead Printer Nick Shick in attendance, Artexte Information Centre, Montreal Quebec, October 2018.

Anthea Black, Surviving Academia for Queer and Trans Profs, 2019 AICAD Symposium, "INCLUDE ME! Diversity, Equity, and Inclusion," Otis College of Art and Design, Los Angeles, California, November 2019.


LIBRARY COLLECTIONS:
Alberta University of the Arts, Calgary
Art Center College of Design, Pasadena
Artexte Information Centre, Montreal
Banff Centre, Paul Fleck Library and Archives, artist's book collection, Banff
The Black Archives, Amsterdam, Netherlands
California College of the Arts, Meyer Library, Oakland
Concordia University, Montreal
Cornell University, Ithaca
Design Academy Eindhoven, The Netherlands
Kansas City Art Institute, Kansas City
Maryland Institute College of Art, College Park
Metropolitan State University, Denver
Minneapolis College of Art & Design, Minneapolis
Monash University Library, Melbourne, Australia
Moore College of Art and Design, Philadelphia
National Gallery of Canada Library, Ottawa
NSCAD University, Halifax
OCAD University, Toronto
PaTi - Paju Typography Institute, Paju Bookcity, Seoul, South Korea
RMIT University Library, Melbourne, Australia
Tufts University, Tisch Library, Boston
UC Berkeley
University of the Fraser Valley, Abbotsford
University of Maryland, College Park
University of San Francisco
University of Waterloo, Kitchener-Waterloo
Van Abbemuseum, Eindhoven, The Netherlands
York University, Toronto

Au regard de l’essor timide de la taille-douce à Paris au début du xviie siècle, l’expérience italienne devint une étape nécessaire pour les graveurs qui voulaient apprendre ou perfectionner le métier. À la différence de ses collègues, Jérôme David (v. 1590/1600 – v. 1670) vécut longtemps en Italie, et non seulement à Rome: son séjour atypique lui permit collaborer avec plusieurs artistes italiens, qu’il interpréta de manière assidue. À son retour en France, en 1637, David continua à graver d’après des modèles italiens et ses estampes contribuèrent à la diffusion du goût, déjà très présent à Paris, pour l’art italien. Après la mort de François Langlois, marchand, éditeur important pour les artistes français ayant voyagé en Italie, David cesse de graver d’après les maîtres italiens, mais son attachement à la culture  gurative ultramontaine s’exprimera tout au long de sa carrière parisienne à travers les citations ponctuelles des grands maîtres qui l’in uencèrent particulièrement.

Di fronte all’inizio esitante dell’incisione su rame a Parigi ai primi del XVII secolo, l’esperienza italiana divenne tappa necessaria per gli incisori intenzionati a apprendere o perfezionare il mestiere. A differenza dei suoi colleghi, Jérôme David (v. 1590/1600 – v. 1670) visse a lungo in Italia, e non solamente a Roma : il suo soggiorno atipico gli permise di collaborare con numerosi artisti italiani, che interpretò in maniera assidua. Al suo rientro in Francia, nel 1637, David continuò a incidere i modelli italiani e le sue stampe contribuirono alla diffusione del gusto, già molto presente a Parigi, per l’arte italiana. Dopo la morte di François Langlois, mercante e importante editore per gli artisti francesi che viaggiarono in Italia, David smise di interpretare gli artisti italiani, ma il suo attaccamento alla cultura  figurativa oltremontana si esprimerà durante tutta la sua carriera parigina attraverso puntuali citazioni dei grandi maestri che lo in uenzarono particolarmente.

De la revisión del artista del pueblo al cuestionamiento institucional. Lecturas sobre Guillermo Facio Hebequer Silvia Dolinko Conicet-UBA-IDAES/UNSAM El enfoque del grabado en su estrecha vinculación con la difusión de contenidos sociales y políticos es posiblemente uno de los aspectos más reconocidos de su propia tradición. A partir del efecto movilizador que se puede desprender de la circulación seriada o plural de discursos artísticos de cuestionamiento y oposición, la idea del grabado como arte comprometido o de denuncia social constituye un topos a partir del cual se ha entendido el lugar o la función de esta producción. Las imágenes de algunos gráficos alemanes como Käthe Kollwitz, Max Beckmann, Otto Dix o George Grosz, del belga Frans Masereel, o de los mexicanos José Guadalupe Posada o los miembros del Taller de Gráfica Popular forman parte de la idea del grabado como vehículo para la difusión del discurso social o comprometido en distintos momentos del siglo XX.

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

For many people, travelling, moving and encountering new places is part of living in the modern world. Being on the move has greatly influenced artists for whom travelling has become both a subject and a means of making their work. This paper aims to examine one of the many aspects of travelling – an encounter and engagement with place as a way of reflecting on contemporary printmaking practices.

Drawing upon philosopher Edward S. Casey’s writings on artistic forms of engagement with place, this paper examines the work of German born Australian printmaker Jörg Schmeisser. Schmeisser ‘s prolific career was informed by his curiosity about the world and multiple journeys to the Middle East, Europe, South East Asia, the USA, Antarctica, Australia and Japan. His encounters with new cultures, landscapes, and traditions resulted in numerous sets of masterfully executed etchings. Some of his works have the feel of a visual diary; quick impressions are inscribed in the form of intricate etched lines, while others demonstrate in-depth observations, where the expressive gestures, mixed with text and colors create intriguing narratives that captivate viewer’s imagination.

For Schmeisser, printmaking was a means to understand and capture the places he encountered. In a similar vein, in my PhD research, I explore how working and traveling between Poland and Australia has informed my creative practice, and how printmaking methods can reveal the experience of place. Through a discussion of my series of works I intend to show how printmaking techniques (including lithography and screen-printing) became an ideal framing device to articulate my engagement and encounter with both places.

This paper was presented at IMPACT10 Printmaking Conference in Santander, Spain, September 2018.

"Belgian artist James Ensor was one of extreme individualism.  His work was both deeply personal, and socially radical, and he employed biting humor and satire to create overtly anti-establishmentarian imagery.  While he explored a vast number of motifs in his prolific career as a painter, printmaker and draftsman, his most radical works garnered the greatest attention.  His known tendencies toward anarchist and socialist thought led him to be involved with the progressive radical group “Les XX,” a group of twenty painters, which emerged in 1883 as a leading avant-garde group in Belgium at the time (Pfeiffer 21).  Ensor suffered a great deal of rejection from the group during its ten-year existence, and Ensor ultimately formed the perspective that even this radical group was not avant-garde enough for him (Pfeiffer 21).  Elsewhere he also encountered harsh responses by critics and the art community.  The artist is characterized by his role as a brash outsider, and his independence spawned a number of powerful depictions of social chaos and tyranny through a means of projecting the real injustices he saw in the world around him through an imaginative lens."

This paper will consider how the history and processes of Printmaking can provide a framework for contemporary material engagement within a feminist perspective. Cultural and historical lineages of Printmedia are discussed to contextualize the appropriation of these legacies within the expanded print practices of two Australian artists, Elvis Richardson and Carolyn Craig. Their contemporary engagement with the material residues of reproductive technologies is discussed in relation to the print practice of Francisco Goya, whose prints articulate opinion and dissent within the social and political sphere. This subversive content reflects a print practice whose commerce was centred around dissemination of ideas over the acquisition of money.

Review of "Concinnitas" (2014), a portfolio of ten aquatints by noted mathematicians and physicists including Michael Atiyah, Enrico Bombieri, Stephen Smale, Murray Gell-Mann, David Mumford, Steven Weinberg, Simon Donaldson, Richard Karp, Peter Lax and Freeman Dyson. "Concinnitas" was printed by Harlan & Weaver, New York, and published by Parasol Press, Portland, OR, in collaboration with the Yale University Art Gallery, New Haven, CT, and Bernard Jacobson Gallery, London.

Citation: Julie Warchol, "Truth, Beauty and Mathematics" Art in Print 6:2 (July-August 2016): 31-33.

Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/440/title/1.

Međunarodni trijenale grafike Livno je pozitivna kulturno-umjetnička inicijativa koju je 2017. godine pokrenuo Franjevački muzej i galerija Gorica-Livno, kako bi uspostavio platformu koja će promovirati vrijedno grafičko nasljeđe i domaću aktualnu grafičku produkciju u zemlji i svijetu. Na 2. međunarodnom trijenalu grafike Livno 2020. godine izlagala su 73 umjetnika iz 34 zemlje svijeta. Pristigli radovi na 2. međunarodni trijenale grafike Livno svjedoče kako se propitkivanjem tradicionalnog medija još uvijek mogu donijeti vitalna promišljanja, a istovremeno kako on u kombinaciji sa suvremenim medijem  može biti vrlo poticajan u novim vizualnim istraživanjima što pridonosi uvijek aktivnom, plodonosnom i inspirativnom stvaralačkom ozračju. Ovim projektom je poboljšana međunarodna kulturna suradnja i ostvarena promocija bosanskohercegovačke umjetnosti u međunarodnim krugovima.

Van Gogh leverde nooit half werk. Gedreven zwoegde hij naar zijn doel, een oeuvre nalatend van ruim 800 schilderijen, 1500 tekeningen en bijna 850 brieven. Zijn verzamelwoede was al even groot: als beginnend kunstenaar vergaarde hij een collectie van meer dan 1500 tijdschriftillustraties en reproducties. Het grafische oeuvre van Van Gogh - slechts negen lithografieën en een ets - lijkt haaks tegenover deze overvloed te staan. Van Gogh begon iets wat hij nooit heeft kunnen afmaken door te hoge ambities en te beperkte financiële middelen.

One of the more striking features of Paul Klee's graphic oeuvre is its modest size. During a career spanning nearly four decades he produced just over a hundred prints, fewer than 60 of which were published or printed in editions of ten or more impressions. These figures appear even more modest when measured against his totaloutput of about 9,000 works.l Among Klee's contemporaries in Germany, most who had any serious interest in printmaking at all made more prints than he. Kandinsky, Feininger, Beckmann, and the major Briicke artists were all more prolific; even the sculptor Barlach was nearly three times as productive in the graphic media.

Práca pojednáva o fenoméne technického obrazu a jeho vzťahu k umeleckej grafike v stredoeurópskom priestore. Skúma fenomény súvisiace s novými formami grafiky, prípadne s modifikáciou tradičných grafických techník v súvislosti so vstupom digitálneho obrazu na pole umeleckej grafiky. Mapuje časť rôznorodého spektra súčasnej grafiky so zameraním na diela a autorov, ktorí pri procese vzniku obrazu využívajú digitálne technológie. Výskum sa ďalej zameriava na dôsledky prenikania technického obrazu do umeleckej grafiky, ktoré sa postupne objavujú v diskusiách o grafike v umeleckých kruhoch, či na prehliadkach súčasnej grafiky. Reflektuje širšie umelecko-historické kontexty tohto fenoménu s ohľadom na vývoj fotografie a nových médií.

This chapter maps a genealogy of artists who have created artists' books in hemispheric Latin America from the expansion of Europe in the 16th century across the Atlantic, emphasizing in contemporary artistic practices from the late 1960s to the present.

Synopsis A paper to cover the new and innovative process and possibilities of turning a traditional lino print matrix into a lithographic plate, at any stage of a lino-cut design. This research is continual and still ongoing, this paper has been written with the early stages of research compiled, with a further paper to follow in the future as more is understood about this new technique. Developed by Mary Dalton of the Washroom Press.

Discusses Stephen Varble's use of reproducible media in the final phase of his career.  In particular, the essay charts Varble's use of the photocopier as an artistic tool in his pursuit of a cheap, accessible art that circumvented commercial and art institutions.  Varble's xerographic prints are put into the context of his work in making "video books" of his epic 'Journey to the Sun', left unfinished at the time of his death in 1984.
Published in the catalogue to the exhibition:
'Stephen Varble: An Antidote to Nature's Ruin on this Heavenly Globe, Prints and Video from the Early 1980s' curated by David J. Getsy
Institute 193, Lexington, Kentucky, 20 October to 1 December 2018

Bu yazı, baskıresim alanına dair sahip olduğumuz birikimi ve bunun niteliğini görme gereksiniminin sonucu olarak, ülkemizde 1960'lardan sonra oluşmaya başlayan baskıresim gerçeğini ele almayı amaçlamış; bu geleneğin oluşmaya başladığı yıllardan bugüne evrilen süreçte, oluşan birikimi ve tarihsel süreci, daha açık bir şekilde görülebilir kılmayı hedeflemiştir.

“To Develop Images from Thoughts. The South American Travels of the New York Graphic Workshop”, en Gabriel Pérez-Barreiro (ed.), The New York Graphic Workshop (1964-1970), Austin, The Blanton Museum of Art-The University of Texas at Austin, 2009, pp. 30-41.

In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage o fer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets.

The twenty-three contributions represent the state of research in this still-emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/‘key’, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.

TEXTURAS DEVELADAS: MUESTRA ANTOLÓGICA DE COLOGRAFÍA EN CUBA, es una exposición que se atreve a narrar la historia de una técnica que replanteó los basamentos estéticos y técnicos de la gráfica.

La trayectoria del procedimiento colográfico en Cuba tuvo sus inicios en la década de los '70. Introducción que se produjo de manera irregular, hecho que conllevó a la creación de diversos modos de hacer o diferentes escuelas, distinguiéndose las de Santiago de Cuba y La Habana. Mientras algunos plásticos la utilizaron como medio de experimentación, para muchos artistas se convirtió en un lenguaje autónomo en el que desarrollarían su obra. Creaciones cuyos resultados alcanzarían a insertarse de modo coherente entre las propuestas del arte cubano contemporáneo.

La selección que hoy se propone exhibe, desde una mirada inclusivista, la obra de las principales figuras que han propuesto desde la colografía nuevas maneras de abordar este procedimiento gráfico. De ahí que dialoguen en un mismo espacio diferentes generaciones de creadores, con distintos intereses técnicos y conceptuales.

Todo primer acercamiento a un fenómeno puede estar sujeto a interrogantes; pero desconocer la historia-quiénes, dónde y cómo-de una técnica que prendió con fuerzas en las prácticas del grabado en Cuba, sería un olvido quizás injusto. Es este el motivo esencial que ha impulsado la idea de organizar una muestra como la que hoy se propone: el develar las texturas de la colografía cubana.