The print on demand edition features individual printing on uncoated paper, ensuring a unique quality that may differ from the original offset version, potentially appearing more saturated. While the content remains consistent with the latest edition, pattern pullouts are included as separate pages. For any missing pullout patterns, readers are encouraged to reach out to the publisher for assistance.
This print on demand edition features individually printed pages on uncoated paper, ensuring a unique appearance that may differ from the original offset version. While the content remains consistent with the latest edition, pattern pullouts are provided as single pages. If any pullout patterns are absent, readers are encouraged to reach out to the publisher for assistance.
Applique your way through these stunning quilts.
The book explores mid-nineteenth-century natural-history imagery, focusing on botanical drawings and photograms by Anna Atkins and her Victorian contemporaries. It highlights the evolving representation of the natural world during this period, particularly with the rise of photography, which sparked a creative surge akin to the impact of digital media today. Alongside traditional handmade drawings and hand-colored prints, artists began creating photogenic drawings—early photographs that documented botanical specimens. This innovative technique, described as "drawing with light," complemented existing graphic media rather than replacing them, fostering experimentation across various forms. The concept of "fluidity" in crossing traditional media boundaries is also reflected in contemporary art. Featuring two hundred color illustrations, the book accompanies an exhibition organized by The Drawing Center in New York and the Yale Center for British Art. More than just a catalogue, it includes essays by the coeditors and contributions from artist Craigie Horsfield and scholars Edward Eigen, Elaine Scarry, and Kathryn A. Tuma, enriching the discussion around the intersection of art and nature in this transformative era.
This print on demand edition features individually printed pages on uncoated paper, offering a unique look that may differ from traditional offset prints. While the content remains consistent with the latest edition, any pattern pullouts are provided as single pages. If any patterns are missing, readers are encouraged to reach out to the publisher for assistance.
Important Note about PRINT ON DEMAND Editions: You are purchasing a print on demand edition of this book. This book is printed individually on uncoated (non-glossy) paper with the best quality printers available. The printing quality of this copy will vary from the original offset printing edition and may look more saturated. The information presented in this version is the same as the latest edition. Any pattern pullouts have been separated and presented as single pages. If the pullout patterns are missing, please contact c&t publishing.
This collection of 15 cat designs from Carol Armstrong, an applique master, includes new techniques for customising features." Print-On-Demand Edition
Important Note about PRINT ON DEMAND Editions: You are purchasing a print on demand edition of this book. This book is printed individually on uncoated (non-glossy) paper with the best quality printers available. The printing quality of this copy will vary from the original offset printing edition and may look more saturated. The information presented in this version is the same as the latest edition. Any pattern pullouts have been separated and presented as single pages. If the pullout patterns are missing, please contact c&t publishing.
Los Angeles-based artist Silke Otto-Knapp has developed a painting practice characterized by its rigorous process and attentiveness to the medium’s possibilities. Using layers of black watercolor pigment, she builds up delicate surfaces, producing subtle variations in density and a powerful sense of atmosphere. Otto-Knapp’s exhibition at the Renaissance Society, In the waiting room , presented a new group of large-scale free-standing paintings in that evokes a multidimensional stage set. Some depict silhouetted bodies while others introduce scenic elements reminiscent of painted backdrops.Offering a close look at the exhibition, this volume includes an array of illustrations, a conversation between curator Solveig Øvstebø and the artist, and four newly commissioned essays by Carol Armstrong, Darby English, Rachel Hann, and Catriona MacLeod, grounded in art history and performance studies.
On viewing the world of Karla Black, we are immediately reminded of elaborate cakes from a society of wit and friendship, of extravagantly sized three-storied sandwiches, and of compost heaps. Multiple layers, insistently present materials and highly tactile and sensual delights dominate all her works. Through our knowledge of art history we recognize the cakes from Claes Oldenburg, and the surface ornamentations, worthy of a master pâtissier, from countless images by Sigmar Polke. We have encountered layerings in the works of Robert Morris, Franz-Erhard Walther, Joseph Beuys, and Anselm Kiefer.