Image references & bibliography for handmade book
Image References
Figure 1: Four-Square, Barbara Hepworth, 1966 St Ives, Cornwall available at https://www.tate.org.uk/art/artworks/hepworth-four-square-walk-through-l00937
Figure 2: Kollwitz, K (1907) detail from Battlefield [etching, drypoint, aquatint and sandpaper and softground with imprint of Bütten paper and Ziegler’s transfer paper printed in green-black ink on copper-plate paper, eighth state], British Museum, London
Figure 3: Kasten, B (1979) untitled 29/75, Amalgam series, silver gelatin 20x16 inch available at http://barbarakasten.net/amalgam/#1
Figure 4: Bourgeois, L (2003) The Good Mother [fabric, thread, stainless steel and glass] Hayward Gallery, London (viewed 19th March 2021)
Figure 5: Kovats, T (2015) Evaporation [steel and salt water] available at https://www.capefarewell.com/evaporation/
Figure 6: Dean, T (2001) still from The Green Ray [film] available at https://www.youtube.com/watch?v=A9meDXPhKIo
Figure 7: Frankenthaler, H (1983) Snow Pines [woodcut print] Dulwich Picture Gallery, London (viewed: 21st September 2021)
Figure 8: Celmins, V (2012) Alliance [aquatint, mezzotint and drypoint on paper] available at https://www.tate.org.uk/art/artworks/celmins-alliance-ar01161
Figure 9: Barclay, C (2014) Set Shift relief print available at https://www.clairebarclay.net/Set-Shift
Figure 10: Morris, S (2012) ERSD: View From Above (2012) [inkjet on archive Hahnemühle paper] available at http://susanmorris.com/motion-capture-images/
Bibliography
Art Institute Chicago (2018) ‘Helen Frankenthaler Prints; the Romance of a New Medium’ 5th March [press release] available at https://www.artic.edu/press/press-releases/244/helen-frankenthaler-prints-the-romance-of-a-new-medium accessed 2nd May 2022
Balfour, B (2018) ‘The What and the Why of Print’ in Pelzer-Montada, R, Perspectives on Contemporary Printmaking: Critical Writing Since 1986, Manchester: Manchester University Press, p114-126
Balzin, A (1960) ‘The Ontology of The Photographic Image’ Film Quarterly vol 13, no.4 pp4-9 available at https://www.jstor.org/stable/1210183?origin=JSTOR-pdf accessed on 1st May 2022
Carey, F & Egremont, M (2017) Portrait of the Artist: Käthe Kollwitz Birmingham, UK: Ikon Gallery
Coldwell, P (2010) Printmaking: A Contemporary Perspective (2010) London: Black Dog Publishing Ltd
Cooke, L (2022) ‘Weaving, Materials & Metaphor’ in Louise Bourgeois – The Woven Child, London & Berlin: Southbank Centre & Hatje Cantz Verlag
Culbert, ST (2019) available at https://www.quora.com/What-does-process-mean-in-art accessed 31st March 2022 (process quote)
Findlay, J (2021) Helen Frankenthaler: Radical Beauty Dulwich Picture Gallery, London 15th September 21-18 April 22 [Exhibition]
Focillon, H and Charles, V (2018) In Praise of Hands New York: Parkstone Press International Ltd
Fortnum, R (2007) Contemporary British Women Artists in their own words New York: Tauris & Co 2007
Hepworth, B (1971) extract from A Pictorial Autobiography available at https://barbarahepworth.org.uk/texts/ accessed 3rd May 2022
Kasten, B (2005) Barbara Kasten available at http://barbarakasten.net/amalgam/#1 accessed 4th May 2022
MIT Press – Materiality (2015) available at https://mitpress.mit.edu/books/materiality accessed 31st March 2022
Pelzer-Montada, R, Perspectives on Contemporary Printmaking: Critical Writing Since 1986, Manchester: Manchester University Press
Sebald, WG (2002) The Rings of Saturn London, England: Vintage
Weisberg, R (2018) ‘The Syntax of a Print: In Search of an Aesthetic Context’ in Pelzer-Montada, R, Perspectives on Contemporary Printmaking: Critical Writing Since 1986, Manchester: Manchester University Press, p56-68