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Ruth Pelzer-Montada

The texts in Part IV, as the title suggests, aim to circumscribe some of the major spheres of print activity. They are focused on the keywords of production, collecting, dissemination, education and research.

in Perspectives on contemporary printmaking
A museum perspective on digital fine art printmaking
Gill Saunders

The text by Gillian Saunders, curator of prints and drawings at the Victoria & Albert Museum (or ‘V&A’) in London, gives insights into the broader parameters of museum collecting rather than private collecting. It uncovers the wider cultural and artistic ideologies – including the nature of the institution itself – that become apparent in the designation of objects worthy of collection by a national institution at a certain point in time.

in Perspectives on contemporary printmaking
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Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé and Ben Wubs

During the 1980s, the European luxury and fashion business experienced a period of radical change. The French holding company Moët Hennessy Louis Vuitton (LVMH), the world's largest fashion and luxury group, is an excellent embodiment of this organizational change. This chapter is a case study of LVMH exploring the evolution of the fashion and luxury industries, entrepreneurship and innovation, and the management of creativity. The LVMH example is especially important because it links Paris to global markets for luxury goods, the largest of which is China. The chapter assesses the narratives generated by the company and by the mass media about craft heritage and the 'genius' of fashion creators. Acknowledging that creativity is a major resource for LVMH, it considers the ways in which the creative process is socially constructed through storytelling. Moreover, the chapter addresses the question of how and where the LVMH group organizes the innovation process.

in European fashion
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Art and a multi-model, multi-disciplinary apprach
Amanda Thomson

Amanda Thomson demonstrates the appropriateness and feasibility of a multi-modal, multi-disciplinary approach to research about conceptions of place and landscape in which print, especially book art, plays a significant role. Its aim – and contribution to knowledge – is to consider how art can augment and maybe even alter the insights of other disciplines, in this case, geography and anthropology.

in Perspectives on contemporary printmaking
Amze Emmons, R.L. Tillman, and Jason Urban

The introduction, by the three founders – Amze Emmons, R. L. Tillman and Jason Urban – of the now sadly defunct web resource Printeresting, to their (edited) manual is at once playful as well as serious. Fittingly, it adopts the format of a manual itself, yet constitutes a deconstruction of this prevalent written source category on printmaking.

in Perspectives on contemporary printmaking
Georges Didi-Huberman

This text is the initial section, musically titled ‘Ouverture’, of the eminent French art historian Georges Didi-Huberman’s book, which is dedicated to the cast or cast object and other forms of imprints or impressions (French: empreinte) in art. The text originally appeared in the catalogue for Didi-Huberman’s exhibition of the same title in 1997. An unaltered reprint appeared in 2008 (Editions Minuit, Paris) and this is its first English translation.

in Perspectives on contemporary printmaking
Ruth Pelzer-Montada

Readers are encouraged to create their own map, or temporal and thematic trajectory through the material presented in this volume, and find the connections between different texts that are pertinent to them. By referring to the further reading lists at the end of each section, readers are then able to create a diverse, yet interconnected web of multiple intersecting lines that lead beyond the book itself.

in Perspectives on contemporary printmaking
Ruth Pelzer-Montada

Readers are encouraged to create their own map, or temporal and thematic trajectory through the material presented in this volume, and find the connections between different texts that are pertinent to them. By referring to the further reading lists at the end of each section, readers are then able to create a diverse, yet interconnected web of multiple intersecting lines that lead beyond the book itself.

in Perspectives on contemporary printmaking
Ruth Pelzer-Montada

Readers are encouraged to create their own map, or temporal and thematic trajectory through the material presented in this volume, and find the connections between different texts that are pertinent to them. By referring to the further reading lists at the end of each section, readers are then able to create a diverse, yet interconnected web of multiple intersecting lines that lead beyond the book itself.

in Perspectives on contemporary printmaking
Ruth Pelzer-Montada

Readers are encouraged to create their own map, or temporal and thematic trajectory through the material presented in this volume, and find the connections between different texts that are pertinent to them. By referring to the further reading lists at the end of each section, readers are then able to create a diverse, yet interconnected web of multiple intersecting lines that lead beyond the book itself.

in Perspectives on contemporary printmaking