The latest in Richard Hamilton's series of publications on all aspects of printmaking.
Four of Hamilton's prints are shown here together with numerous stage proofs in order to demonstrate the complexity and intricacy of his image making. He takes the reader step-by-step through the ways in which a computer and the latest technology can create as wide a range of results as there are artists wishing to use them.
Hamilton maps out the development of digitalization in his introduction, as well as the history of his own involvement with the technology. The stage proofs and the final print of each chosen image are accompanied by a text that explains their genesis.
This book demonstrates that the combination of digital imaging and ink jet printing in the hands of a master is as valid a printmaking technique as any of the more classic methods. It is a must for all artists, collectors, curators, art critics, graphic designers, and anyone interested in developments in modern printmaking. 67 color illustrations.
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Hal Foster is Townsend Martin '17 Professor of Art and Archaeology at Princeton University. He is the author of Compulsive Beauty (1993), The Return of the Real: Art and Theory at the End of the Century (1996), and Prosthetic Gods (2004), all published by the MIT Press, and other books. Alexander Bacon is a PhD candidate at Princeton University.
Still little-known in the United States, Richard Hamilton is a key figure in twentieth-century art. An original member of the legendary Independent Group in London in the 1950s, Hamilton organized or participated in groundbreaking exhibitions associated with the group--in particular This Is Tomorrow (1956), for which his celebrated collage Just what is it that makes today's homes so different, so appealing?, crystallizing the postwar world of consumer capitalism, was made. With his colleagues in the Independent Group, Hamilton promoted the artistic investigation of popular culture, undertaking this analysis in paintings, prints, and texts, thus setting the stage for Pop art--indeed, he is often called the intellectual father of Pop. At the same time, Hamilton was crucial to the postwar reception of Marcel Duchamp, transcribing his notes for The Large Glass and producing a reconstruction of this epochal piece for the first Duchamp retrospective in Britain, in 1966. Over the years Hamilton has continued to develop his work, in a variety of media, on subjects ranging from the Rolling Stones to the Troubles in Northern Ireland, from new commodities and technologies to the oldest genres in Western painting. True to the mission of the October Files series, this volume collects the most telling essays on Hamilton (including several hard-to-find texts by the artist), spanning the entire range of his extraordinary career.
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