Registering the Matrix: Printing Matrices as Sites of Artistic Mediation (APS-Sponsored Session at the CAA Annual Conference, Chicago, 14 Feb 2020)
Please join the Association of Print Scholars for "Registering the Matrix: Printing Matrices as Sites of Artistic Mediation", the APS-sponsored session convening at the CAA Annual Conference in Chicago on Friday, February 14, 2020 at 4:00pm.
Session Chair:
Jun Nakamura, University of Michigan
Session Description:
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rembrandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rembrandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself, examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic encounters, exchanges, and processes. This session addresses the printing matrix as site of mediation, across time and geography.
Presentations:
"Restrike as restoration: a Diachronic Analysis of The Triumphal Arch of Maximilian I"
Jesse Noah Feiman, Massachusetts Institute of Technology
"'With ink, a rag, and his two arms': Inking the Matrix in Nineteenth-Century France"
Laurel Garber, Northwestern University
"Edouard Manet's The Absinthe Drinker: The Evolution of an Etched Plate and Prints"
Elissa Watters, Yale University
""The Machine That Makes the Art": Printmaking as Conceptual Practice at the Nova Scotia College of Art and Design Lithography Workshop"
Rachel Lena Vogel, Harvard University
Conference Room:
Hilton Chicago - 3rd Floor - Williford B
Please visit the 'External Link' below for more information.
Session Chair:
Jun Nakamura, University of Michigan
Session Description:
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rembrandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rembrandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself, examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic encounters, exchanges, and processes. This session addresses the printing matrix as site of mediation, across time and geography.
Presentations:
"Restrike as restoration: a Diachronic Analysis of The Triumphal Arch of Maximilian I"
Jesse Noah Feiman, Massachusetts Institute of Technology
"'With ink, a rag, and his two arms': Inking the Matrix in Nineteenth-Century France"
Laurel Garber, Northwestern University
"Edouard Manet's The Absinthe Drinker: The Evolution of an Etched Plate and Prints"
Elissa Watters, Yale University
""The Machine That Makes the Art": Printmaking as Conceptual Practice at the Nova Scotia College of Art and Design Lithography Workshop"
Rachel Lena Vogel, Harvard University
Conference Room:
Hilton Chicago - 3rd Floor - Williford B
Please visit the 'External Link' below for more information.
Relevant research areas: North America, Western Europe, Renaissance, 19th Century, 20th Century, Contemporary, Etching, Lithography
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