A tome of the newest advances in printmaking for today’s environmentally conscious art students, master printers, teachers, and artists Etching, lithography, and screenprinting shouldn’t be harmful to the artist or the planet. With cutting edge, never-before-published advances in printmaking media, Printmaking Revolution provides artists, students, and teachers alike with safer, environmentally friendly and non-carcinogenic methods for creating beautiful prints. Inside, teacher and professional artist, Dwight Pogue offers groundbreaking information on embracing green, petroleum-free, nontoxic materials that comply with the Environmental Protection Agency (EPA) and Occupational Safety and Health Administration (OSHA) requirements. With new alternatives for the modern era, and work by some of today’s most notable artists, including Janet Fish, James Rosenquist Walton Ford, and Louisa Chase, this book truly revolutionizes the techniques, materials, and processes of a time-honored medium.

John McGreal's three new books – It’s Reproduction, Contently, It’s Revolution, Actively and It’s Transformation, Contently – continue the ‘It’ Series published by Matador since 2010.

Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.

Inspired Artist: Block Print for Beginners teaches beginners how to design and carve their own lino blocks and create a variety of unique, customisable art prints.

The 2nd edition of The Care of Prints and Drawings provides practical, straightforward advice to those responsible for the preservation of works on paper, ranging from curators, facility managers, conservators, registrars, collection care specialists, private collectors, artists, or students of museum studies, visual arts, art history, or conservation. A greater emphasis is placed on preventive conservation, a trend among collecting institutions, which reflects the growing recognition that scarce resources are best expended on preventing deterioration, rather than on less effective measures of reversing it. Expanded and richly illustrated chapters include: Supports for Prints and Drawings discusses the properties of parchment and paper and introduces the general preservation needs and conservation problems of all works on paper, regardless of their media. Conservation Problems Related to the Paper Support of Prints and Drawings presents a guide to recognizing the symptoms and diagnosing the causes of damage specific to paper. Conservation Problems Related to the Materials and Techniques of Prints describes the conservation problems that affect certain printmaking materials and arise from specific processes. Conservation Problems Related to the Materials and Techniques of Drawings focuses on the various materials used to create marks on paper. Item-Level Collection Protection: Envelopes, Sleeves, Folders, Enclosures, Mats, Boxes, Frames, and Furniture, discusses measures taken for prints and drawings so that they can better withstand the rigors of handling, examination, exhibition, travel, and adverse environmental conditions. Preventive Conservation for Prints and Drawings describes how the integration of a comprehensive Collections Care Program into a Collections Management Policy can reduce the need for item-level conservation treatments. Basic Paper Conservation Procedures provides instructions on how to stabilize damaged works. How to Make Starch Paste and Methyl Cellulose Adhesive and Suppliers of Paper Conservation Materials and Equipment are appended as well as a Glossary.

The year is 1995. Thirty-nine-year-old Brian Moss lives alone in New York City’s Chelsea neighborhood, his survival in the city barely rising above the marginal. He’s in danger of becoming a fixture on his block, someone not registered by those around him. Brian hasn’t succeeded in his ambition of becoming an art historian, but neither has he fully forsaken it. He still thinks about his unfinished dissertation, but mostly at odd moments—on his way to the piers at dusk or to late-night clubs after work. Brian cherishes his independence, yet every now and then he recalls, with a shock of recognition, his father’s appellation for him, “Mr. Artiste, Mr. Overgrown Boy.” Over three seasons—autumn through spring—events conspire to show Brian that a richer life is within his grasp. Returning to his childhood home in the Midwest when his father has a stroke, Brian finds the scale of emotion between them weighted first one way, then the other. While there, he uncovers a surprising family secret that gives him a much-altered view of his past. And then, slowly, Brian enters into a relationship with a man who challenges his feelings about romantic love and disrupts his pattern of random late-night encounters. Brian Moss’s inner voice takes hold of the reader from the first page. Grossman’s rendering of his character is a tour de force. She places Brian firmly within his beloved city by balancing the harsher realities of urban life against the great aesthetic pleasures that can be drawn from it. As Brian’s life becomes illuminated within this set passage of time, so does the reader’s understanding of an ordinary, extraordinary man.

In this book, Carl Goldstein examines the print culture of seventeenth-century France through a study of the career of Abraham Bosse, a well-known printmaker, book illustrator, and author of books and pamphlets on a variety of technical subjects. The consummate print professional, Bosse persistently explored the endless possibilities of print – single-sheet prints combining text and image, book illustration, broadsides, placards, almanacs, theses, and pamphlets. Bosse had a profound understanding of print technology as a fundamental agent of change. Unlike previous studies, which have largely focused on the printed word, this book demonstrates the extent to which the contributions of an individual printmaker and the visual image are fundamental to understanding the nature and development of early modern print culture.

In revolutionary France the life of things could not be assured. War, shortage of materials, and frequent changes in political authority meant that few large-scale artworks or permanent monuments to the Revolution’s memory were completed. On the contrary, visual practice in revolutionary France was characterized by the production and circulation of a range of transitional, provisional, ephemeral, and half-made images and objects, from printed paper money, passports, and almanacs to temporary festival installations and relics of the demolished Bastille. Addressing this mass of images conventionally ignored in art history, The Politics of the Provisional contends that they were at the heart of debates on the nature of political authenticity and historical memory during the French Revolution. Thinking about material durability, this book suggests, was one of the key ways in which revolutionaries conceptualized duration, and it was crucial to how they imagined the Revolution’s transformative role in history. The Politics of the Provisional is the first book in the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation. Thanks to the AHPI grant, this book is available on a variety of popular e-book platforms.

The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art's modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be “post-revolutionary.”

An inspirational how-to course on Japanese woodblock printing's history and techniques, with guidance on materials and studio practices, step-by-step demonstrations, and examples of finished works by modern masters of the medium as well as historic pieces. A Modern Guide to the Ancient Art of mokuhanga An increasingly popular yet age-old art form, Japanese woodblock printing (mokuhanga) is embraced for its non-toxic character, use of handmade materials, and easy integration with other printmaking techniques. In this comprehensive guide, artist and printmaker April Vollmer—one of the best known mokuhanga practitioners and instructors in the West—combines her deep knowledge of this historic printmaking practice with expert step-by-step instruction, guidance on materials and studio practices, and a diverse collection of prints by leading contemporary artists. At once practical and inspirational, this handbook is as useful to serious printmakers and artists as it is to creative people drawn to Japanese history and aesthetics.