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A leading art historian presents a new grammar for understanding the meaning and significance of print

In process and technique, printmaking is an art of physical contact. From woodcut and engraving to lithography and screenprinting, every print is the record of a contact event: the transfer of an image between surfaces, under pressure, followed by release. Contact reveals how the physical properties of print have their own poetics and politics and provides a new framework for understanding the intelligence and continuing relevance of printmaking today.

The seemingly simple physics of printmaking brings with it an array of metamorphoses that give expression to many of the social and conceptual concerns at the heart of modern and contemporary art. Exploring transformations such as reversal, separation, and interference, Jennifer Roberts explores these dynamics in the work of Christiane Baumgartner, David Hammons, Edgar Heap of Birds, Jasper Johns, Corita Kent, Glenn Ligon, Julie Mehretu, Robert Rauschenberg, and many other leading artists who work at the edge of the medium and beyond.

Focusing on the material and spatial transformations of the printmaking process rather than its reproducibility, this beautifully illustrated book explores the connections between print, painting, and sculpture, but also between the fine arts, industrial arts, decorative arts, and domestic arts. Throughout, Roberts asks what artists are learning from print, and what we, in turn, can learn from them.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington

Tabla de contenidos provista por Syndetics

• Preface(VIII)
• Introduction(2)
• 1 Pressure(12)
• 2 Reversal(40)
• 3 Separation(70)
• 4 Strain(102)
• 5 Interference(132)
• 6 Alienation(166)
• Acknowledgments(196)
• Notes(200)
• Credits(209)
• Index(211)

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CHOICE Review

According to her faculty profile, Roberts (Harvard Univ.) has "long advocated for the value of making as a form of historical and interpretative research." Contact is a result of this approach: a study focusing on the materiality and human experience of the process itself. The text is based on lectures Roberts delivered as the A. W. Mellon Lecturer in the Fine Arts for the National Gallery of Art in 2021. The content is divided into chapters that encompass physical, technical, and emotional aspects of printmaking, such as pressure, separation, and alienation. The descriptive language Roberts uses to explain these concepts both underscores the physical contact with the materials--plate, paper, and color--and the human experience of the process by using emotionally and psychologically charged terms such as "out of phase," "deskilling," and "black holes." The result is an articulate, creative exploration of this unique artist--medium relationship that will be engaging for upper-level students, faculty, and artists. Summing Up: Recommended. Advanced undergraduates through faculty; practitioners. --Margaret A. Miller, Louisiana State University

Notas de autor provistas por Syndetics

Jennifer L. Roberts is the Drew Gilpin Faust Professor of the Humanities at Harvard University. She is the author of Transporting Visions: The Movement of Images in Early America, Jasper Johns/In Press: The Crosshatch Works and the Logic of Print, and Mirror-Travels: Robert Smithson and History.