Relevant bibliographies by topics / Artists' books – Jerusalem – Exhibitions

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Academic literature on the topic 'Artists' books – Jerusalem – Exhibitions'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Artists' books – Jerusalem – Exhibitions"

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Purcell, Alexandra. "Artists’ Books, Digital Exhibitions, and the Copyright Issues that Surround Them." Art Documentation: Journal of the Art Libraries Society of North America 34, no. 2 (September 2015): 321–29. http://dx.doi.org/10.1086/683387.

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Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.

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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.
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Rimmaudo, Annalisa. "Acquisition and exploitation in the Bibliotheque Kandinsky’s artists’ books collection." Art Libraries Journal 32, no. 2 (2007): 32–35. http://dx.doi.org/10.1017/s0307472200019179.

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The collection of artists’ books at the Musée National d’Art Moderne in the Centre Georges Pompidou grew spontaneously at first, once the museum had been created, but since the end of the 1980s its growth has been much more deliberate. A formal acquisition policy has been introduced that ensures that gaps resulting from the early collecting history are filled; this also encourages the exploration of new directions in consultation with the Museum curators. Many activities are now undertaken to make the most of the holdings, such as exhibitions and seminars encouraging exploitation of the collection and ensuring continued analysis and debate.
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4

Nijhoff, Michiel. "Optimism and enthusiasm – and doubts: from UDC towards hybrid cataloguing in the library of the Stedelijk Museum Amsterdam." Art Libraries Journal 36, no. 4 (2011): 50–52. http://dx.doi.org/10.1017/s0307472200017211.

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UDC was used in the library of the Stedelijk Museum until 1994, but initially only for a small minority of the books: those that were neither monographs nor exhibition catalogues. With the introduction of an automated system UDC was thrown overboard, books were shelved by size, and the catalogue now works with a thesaurus (more like a keyword list) loosely based on the AAT. Most questions from customers are for artists’ names, so that is the focus of the indexing effort, even for group exhibitions involving up to 30 or 40 names, while for the Stedelijk’s own catalogues, all the artists are always indexed.
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Avrin, Leila. "Hebraica Now! The Book Arts, 1991-1993." Judaica Librarianship 8, no. 1 (September 1, 1994): 154–61. http://dx.doi.org/10.14263/2330-2976.1261.

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There have been several positive developments in the areas of Hebrew typography, fine and private printing, and artists' books from 1991 to 1993. The paper discusses recent typefaces by the Jerusalem designer Zvi Narkiss; the typographic experiments of Ariel Wardi, former head of the Printing Department of Hadassah College of Technology in Jerusalem, as well as a new Hebrew display letter, "Hillel," designed by Scott-Martin Kosofsky for the Harvard Hillel Sabbath Songbook. The works of two private presses are examined: that of the Santa Monica private printer Jacob Samuel in a book illustrated by Micha Ulmann, and that of Jerusalem's designer-bookbinder, Yehuda Miklaf. Two significant artists' books have appeared recently: Maftir Yonah, a limited hand-printed edition with calligraphy by David Moss and etchings by Mordechai Beck, printed at the Jerusalem Print Workshop, and The Six Days of Creation, a work in monoprint, with calligraphy and drawing by Malla Carl. Another milestone is the 1992 Hebrew translation by Israel's veteran printing expert, Gideon Stern, of the printer's manual, Bruckmann's Handbuch der Drucktechnik as Sefer ha-defus. It includes the history and essentials of Hebrew typography and serves as an invaluable reference work for the new generation of Hebrew printers.
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Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.

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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.
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Vasilyeva, Anna V. "ILLUSTRATIONS TO THE RUSSIAN TRANSLATION OF “THE ADVENTURES OF A LITTLE PREHISTORIC BOY” (1929) BY ERNEST D'HERVILLY IN THE SCOPE OF LITERARY WORKS ABOUT PEOPLE OF THE STONE AGE FROM THE STATE DARWIN MUSEUM COLLECTION." Articult, no. 4 (2020): 104–12. http://dx.doi.org/10.28995/2227-6165-2020-4-104-112.

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The article dwells on the study of the image of a prehistoric man portrayed in children books illustrations and museum exhibitions’ design (paintings, sculptures) in 1920-1930s using the example of works from the State Darwin Museum funds. During this period, famous artists of children's books Vasily Vatagin and Mikhail Ezuchevsky worked at the State Darwin Museum. They were also well versed in anthropology and ethnography. Their drawings were the first Soviet illustrations for the book by Ernest d'Hervilly “The Adventures of a little prehistoric boy”, which became a popular science book for children in the USSR about prehistoric people. V.A. Vatagin, M.D. Ezuchevsky and A.N. Komarov created a number of paintings and sculptures about the life of prehistoric people for the exposition of the State Darwin Museum in the first half of the XX century. Illustrations and artworks introduced the element of entertainment and emotional appeal to the museum’s exhibitions, which otherwise were purely informative and rather cold-eyed.
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8

Mathieu, Didier, and Gillian Varley. "The Centre des livres d’artistes, Saint-Yrieix-la-Perche." Art Libraries Journal 32, no. 2 (2007): 21–26. http://dx.doi.org/10.1017/s0307472200019155.

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The Centre des livres d’artistes (cdla), which has been based in S aint-Yrieix-la-Perche since 1994, is the culmination of a project initiated at the end of the 1980s by the association Pays-paysage. After many years during which it lacked anywhere to develop its activities fully, the cdla has at last been installed in a refurbished building and opened early in 2005 with a new exhibition of books and publications by herman de vries. The two principal activities of the cdla are the creation and management of a collection of artists’ books (currently nearly 3000 items), and the organisation of exhibitions in France and also abroad.
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9

Dietze, Horst. "Arthur Segal: picture lending and an artist’s life." Art Libraries Journal 15, no. 2 (1990): 10–14. http://dx.doi.org/10.1017/s0307472200006696.

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For much of his life the Rumanian-born artist Arthur Segal championed the cause of picture lending for the benefit of the public and as a means of helping artists to earn a living. In Germany in the mid-1920s, Segal put forward his plans for lending institutions for works of art, akin to lending libraries for books. Widespread support was not forthcoming, and an experimental scheme organised by an artists’ association in Berlin ceased in 1927. Segal could give only qualified support to an alternative concept of hire purchase. Arthur Segal settled in England in 1936; some years after his death, his ideas contributed to the devising of an art loan scheme, launched by the London Borough of Holborn public library, which featured the work of local artists. Segal deserves to be remembered; his life and achievements have been celebrated by exhibitions in Berlin and Cologne, and the following article has been translated into English so that his ideas and endeavours can be more widely appreciated.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Books on the topic "Artists' books – Jerusalem – Exhibitions"

1

Segal, Batya. Sifre-oman: Sadnat ha-hedpes, Yerushalayim = Artists books : Jerusalem Print Workshop. Yerushalayim: Sadnat ha-hedpes Yerushalayim, Merkaz G'inogali le-hedpes, 2011.

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2

Muzeʼon Yiśraʼel (Jerusalem). Sifriyat Arṭuro Shṿarts. Ishah-ḥidah: Hedpesim ṿe-sifre-oman sureʼalisṭiyim mi-Sifriyat Arṭuro Shṿarts be-Muzeʼon Yiśraʼel. Yerushalayim: ha-Muzeʼon, 1995.

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3

Art, Brooklyn Museum of. Artists books. [Brooklyn, N.Y: Brooklyn Museum of Art], 2000.

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4

Books by Artists (Exhibition) (1999 University of the West of England, Bristol). Books by artists. Bristol: Impact Press, 1999.

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5

Artists' Books Collection (Library of Congress), ed. Künstlerbücher, Buchobjekte =: Artists' books. Oldenburg: Bibliotheks- und Informationssystem der Universität Oldenburg, 1986.

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6

Caldic Collection: Artists' books. Rotterdam: Caldic Collectie, 2007.

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7

Maccheroni, Henri. Maccheroni books: Works. Cambridge [England]: Wren Library, Trinity College, 2007.

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8

Museum of Modern Art (New York, N.Y.), ed. A century of artists books. New York: Museum of Modern Art : distributed by Harry N. Abrams, 1994.

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9

Offenbach, Klingspor-Museum, ed. Veronika Schäpers: Bücher = Books. Offenbach: Klingspor Museum, 2014.

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10

Clive, Phillpot, and Weatherspoon Art Gallery, eds. Artist/author: Contemporary artists' books. New York: Distributed Art Publishers, 1998.

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Book chapters on the topic "Artists' books – Jerusalem – Exhibitions"

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"Foundations: Comic Art in Museums." In Comic Art in Museums, edited by Kim A. Munson, 11–13. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0002.

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This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in comics exhibitions, why they are important, who the most influential artists were, and how comic art drawings function as an art object when framed on the gallery wall and in special artist’s edition books. This chapter also introduces contributors Denis Kitchen (image), Brian Walker, and Andrei Molotiu. This chapter discusses gallery comics and the work of artists Will Eisner, Mort Walker, and Mark Staff Brandl (image).
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Cernuda, Ramón. "The Cuban Avant-Garde and the International Art Community." In Picturing Cuba, 82–97. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0006.

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Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.
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