This celebratory publication honoring Professor Dario Gamboni's work explores the various uses of the postcard since its invention.

With contributions by Andreas Beyer, Sarah Burkhalter, Penelope Curtis, Thierry Dufrêne, Finbarr Barry Flood, Susan Elizabeth Gagliardi, Gloria Groom, Michèle Hannoosh, Haruko Hirota, Shigemi Inaga, Joseph Leo Koerner, Fred Leeman, Anne Pingeot, Dominique Poulot, Rodolphe Rapetti, Laurence Schmidlin, Richard Shiff, Harriet Stratis, Felix Thürlemann, Philip Ursprung, and Peter Weibel.

An original drawing by Swiss artists Markus Raetz adorns the book cover.

The work of American artist Kiki Smith, born 1954, is a meditation on the body. Smith observes every aspect of corporal materiality and the conditions that shape our life on earth: physically, spiritually, and politically, but also with regard to emotive categories like control and disgust. Her earlier work often fragmented the body into organs, fluids, and senses. Later, she depicted it as an envelope. Yet in her most recent art she has taken a step back to evoke mankind’s relationship with its environment. Smith uses a wide range of materials and techniques, with a particular interest in the fragility and expressive potential of paper and its resemblance to human skin. This book, published to coincide with an exhibition at MCBA Musée cantonal des Beaux-Arts in Lausanne, Switzerland, offers a survey of some forty years of Kiki Smith’s art making, examining in particular the sensory dimension of her output.

Des Arztes Gulielmus Pantin aus Brügge Erklärung des Frontispizwerks zu Hubertus Goltzius aus Würzburg, Altertumsdarsteller und ein Griechisch geschriebenes Lobgedicht von Franziskus Nansius: Zusammenfassung aus: Hubertus Goltzius, C. Iulius Caesar sive Historiae imperatorum caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1563) und Eine Bildanalyse des Frontispizes zu Hubertus Goltzius, C. Iulius Caesar... (Brugis Flandrorum 1563) mit einer Einleitung von Margaret Daly Davis: Hubertus Goltzius, historian, antiquarian, numismatist (in englischer Sprache) (FONTES 86)

Adolf Meetkercke: Gedicht des Adolf Meetkercke aus Brügge, wodurch das Frontispiz dieses Werkes des Goltzius erklärt wird und Louis Carrion: Louis Carrion aus Brügge zu demselben Frontispiz des Goltzius, Bürgers von Rom, aus: Hubertus Goltzius, Caesar Augustus, sive Historiae Imperatorum Caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1574) und Eine Bildanalyse des Frontispizes zu Hubertus Goltzius, Caesar Augustus, sive Historiae Imperatorum Caesarumque Romanorum ex antiquis numismatibus restitutae (Brugis Flandrorum 1574) (FONTES 88)

Publisher's copy: A landmark survey of Sol LeWitt’s printmaking practice -- The conceptual artist Sol LeWitt (1928–2007) is best known for his programmatic wall drawings and modular structures, but alongside these works he generated more than 350 print projects, comprising thousands of lithographs, silkscreens, etchings, aquatints, woodcuts, and linocuts. This generously illustrated volume is the first to take a comprehensive look at LeWitt’s significant yet underexplored printmaking practice. Drawing together new archival research, interviews, and careful material and visual analyses, David S. Areford brilliantly situates LeWitt’s prints within the broader context of his serial-, system-, and rule-based approach to art making. The specific processes of print media, Areford argues, were perfectly suited for LeWitt’s particular brand of conceptual art, in which the “idea becomes the machine that makes the art.”

With over 400 illustrations, many never before published, this study offers a more complete picture of LeWitt’s oeuvre—and the essential place printmaking holds in it. The result will deepen the understanding not only of the variety of LeWitt’s output but of the genealogy of his distinct geometric and linear formal language.

This essay explores several fifteenth-century woodcuts of the Christ Child in relation to the so-called Proleptic Passion, the theme of the Child of Sorrows, and the subtle ways in which the images collapse time.

It is generally acknowledged that the reception of engravers in the French Royal Academy of Painting and Sculpture responded to Colbert’s wish to reproduce and circulate the academicians’ works. However, a more in-depth study of the relationship between the Academy and Parisian engravers provides an alternative viewpoint. This article attempts to show how engravers aspired to join the institution, and how the latter enabled them to produce a theory of engraving inspired by discourses on painting, thus leading them to distinguish between original and reproductive engraving.