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The Story of Printmaking: A Global History of Art

by Holly Ej Black

Printmaking across places and purposes

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AlbakiReads Editorial

Printmaking across places and purposes

Holly Ej Black traces printmaking from prehistory to the present, treating it as both an art form and a way to circulate information. The book introduces processes including woodblock printing and etching, while following the medium across ten chapters that move through ancient East Asia, Renaissance Europe, revolutionary Mexico, and post-Apartheid South Africa. Its broad scope links different regional histories and draws attention to practitioners the account describes as overlooked. The framing also places artistic experimentation alongside commercial production, showing how prints have occupied more than one role in visual culture.

Good fit for readers who enjoy

  • Readers seeking a global overview of printmaking history.
  • Those interested in print processes such as woodblock printing and etching.
  • Readers exploring the relationship between fine art, commercial production, and information-sharing.

Themes

Global histories of printmakingPrintmaking techniquesArt and commercial productionThe circulation of images and informationOverlooked practitioners

Based on publisher information and book metadata.

Book overview

A vivid history of the evolution of printmaking as a means of creative expression, from prehistory to the present day

The significance of printmaking within the history of art is often underplayed, obscured or misunderstood. This book tells the story of artist prints from across the globe in a manner that is accessible and engaging. It demystifies how prints are made--from woodblock to etching--and explores how, throughout history, printmaking has defied easy categorisation, straddling "fine" art practices and commercially minded production. In fact, it has been employed as much for creative experimentation as it has for disseminating information.

Beginning in ancient East Asia and travelling through Renaissance Europe, revolutionary Mexico, and post-Apartheid South Africa, these ten chapters celebrate the interconnected nature of the printed image and its multiple histories, while illuminating the lesser-known players who have been deliberately or erroneously overlooked. Whether formed by slicing linoleum or plunging plates into acid, then distributed via bound books or pasted posters, the print has not just replicated the world, it has shaped it.

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