The information for “Print/Out”, the last big print survey exhibition at MOMA New York in 2012, mentioned artists such as Rirkrit Tiravanija and Philippe Parreno, who “have used prints to recount, share, or reactivate earlier events and ephemeral artworks.” In other words, prints become part of a mobile art practice but their own volatility appears here unchanged. Ruth Pelzer-Montad, University of Edinburgh Rikrit Tiranvanija, Map of Land and Feeling, 2008 Print’s plasticity or ephemeral materiality as an indicator of “expanded print”? ![]() Railton’s session seeks to contribute new knowledge on materialism by situating ephemeral materials and printmaking practices within current art historical research and criticism. At the intersection of art history, conservation, and archival theory, Dr. Technical conservation examinations of prints illustrate the challenges presented by ephemeral pigments. Focusing on the physical history of ephemeral prints, the conception, acquisition, condition issues and conservation. From a museology perspective, various models of institutional support that encompass archival repositories, preservation and conservation. The topic covers the relationship between artists’ choices of ephemeral materials and the theoretical rhetoric that dominated their practices, New Materialisms, object orientated ontology, or thing theory may offer new ideas of ephemeral matter. Yasmin Amaratunga Railton is chairing a discussion about the intersection of art history, museumology, conservation. ![]() Questioning print’s plasticity or ephemeral materiality as an indicator of ‘expanded print’, includes the conservation and documenting of Day-Glo, Early 20th-Century Pulp Fiction Illustration, and Miraculous Early Modern Prints in Italy.Īs part of the College Art Association’s annual conference, Sotheby’s Institute faculty Dr. From the early modern period, to artistic interest in materiality in 21st century practices, recent theoretical approaches to matter offer new insight into the production and consumption of prints historically. Understanding the material culture of ephemeral prints is a contradiction in terms, yet research into the production, function, and reception of ephemeral materials in printmaking has recently become a fertile line of enquiry. An experiment in West Coast Conceptualism, each of the portfolio’s seventy-five pages of cotton paper was permeated with an unusual pigment, which included Los Angeles tap water, Coca-Cola, sulphuric acid, and human blood. Ed Ruscha’s 1969 print portfolio Stains signifies a paradigm shift in the artist’s practice, marking a departure from painting in favor of experimental printmaking using ephemeral materials.
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