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040			_apucpr _beng _cpucpr _dpucpr _erda
049			_aCARIBET
050	0	0	_aNE850 _bR56 2024
100	1		_aRoberts, Jennifer L., _d1969- _eauthor.
245	1	0	_aContact : _bart and the pull of print. / _cJennifer L. Roberts. _htxt
264		1	_aPrinceton ; _aOxford : _bPrinceton University Press, _c2024.
300			_aix, 220 p. : _bill. ; col. ; _c24 cm. _fbook
336			_2rdacontent _atext _btxt
336			_2rdacontent _astill image _bsti
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
440			_aThe A.W. Mellon lectures in the fine arts _9178256 _pBollingen series _vXXXV:70
504			_aIncludes bibliographical references (pages 200-208) and index.
505	0		_a1. Pressure -- 2. Reversal -- 3. Separation -- 4. Strain -- 5. Interference -- 6. Alienation --
520			_aA 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.
650		0	_aPrints _xTechnique.
650		6	_aEstampe _xTechnique.
650		7	_aprintmaking. _2aat
830		0	_aA.W. Mellon lectures in the fine arts ; _v2021.
830		0	_aBollingen series ; _v70.
942			_2lcc _c27 _hNE850 _kGeneral _mR56 2024
999			_c302823 _d302823