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Regina Lee Blaszczyk

Many Bostonians were proud of their Puritan heritage, but New England was also home to many hyphenated Americans who traced their roots to Southern, Central, and Eastern Europe. This chapter examines how America's largest fashion retailer integrated European imports into store promotions aimed to reach consumers at all price points. It focuses on the retail professionals who brought European fashion merchandise to the United States and created mechanisms for the dissemination of European style. Cultural analysis is extended to the activities of retail buying, fashion merchandising, and fashion promotion. The focus is on a key group of intermediaries, namely the buyers, stylists, fashion directors, merchandisers, and managers at William Filene's, who harnessed European prestige to sell fashion merchandise made at home and abroad to American consumers. These efforts produced successes such as Fashionations, until major social and cultural shifts upset the apple cart.

in European fashion
Richard S. Field

In 1994 art historian and curator Richard Field published his thirty ‘sentences on printed art’, inspired by Sol LeWitt’s ‘Sentences on Conceptual Art’ of 1969. Ideally suited as a series of theses for further discussion, the sentences highlight, in a nutshell, many of the concrete features of the production of prints and their qualities as objects.

in Perspectives on contemporary printmaking
Andrzej Bednarczyk

Polish artist Andrzej Bednarczyk’s text serves to highlight an approach to print from a non-Anglo-Saxon country with its different philosophical and cultural traditions. The English translation of the text maintains the term ‘graphic art’, which is rather more prevalent in European languages than ‘printmaking’. The term itself indicates a breadth not as easily connoted by the word ‘printmaking’. Furthermore, the author also highlights the importance of differentiating between ‘graphic technique’ and ‘graphic art’.

in Perspectives on contemporary printmaking
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Yara Flores

This text uses a non-artistic mode of printing to ask profound questions about the sensory and ‘spiritual’ properties of technologies, even the most pithy ones. The issue of the joyfully eclectic journal Cabinet in which this text appeared was dedicated to the theme of ‘Learning’. The text, billed as the autobiographical work of a Brazilian poet and graphic artist called Yara Flores, compares vividly, poetically and with ironic detachment as well as some nostalgia the ‘spiritual’ power – or the sensory and metaphorical potency – of a now outdated technical mode of reproduction with its successor, the Xerox machine.

in Perspectives on contemporary printmaking
The San Juan Triennial tracking the new century
Mari Carmen Ramírez

The text by curator and art historian Mari Carmen Ramírez constitutes an excellent general introduction to the function of biennales. It also contextualises the Biennale of San Juan’s distinctive location in Puerto Rico which is characterised as a ‘hinge’ between South and North America.

in Perspectives on contemporary printmaking
Susan Lambert

In the shortened but otherwise unchanged chapter from her book The Image Multiplied, published in 1987, art historian and curator Susan Lambert provides an invaluable insight into the historical relationship between prints as reproductions and the question of the ‘original’ print. She demonstrates that, historically, not only were these notions and attendant practices considered less important than more recently, but they were also less clearly defined.

in Perspectives on contemporary printmaking
In search of an aesthetic context
Ruth Weisberg

Ruth Weisberg’s text from 1986, the earliest in this volume, has an almost legendary status among an older generation of printmakers. It was clearly written with the intention of ‘upping the ante’ of print discourse as it existed in the mid-1980s and of posing a challenge to curators and critics as well as printmakers themselves. It is informed by and touches on critical and philosophical debates at the time, such as semiotics and postmodern theory, but it also draws on earlier modernist and structuralist ideas, such as the search for a ‘discipline-based aesthetic’ and ‘inherent categories’.

in Perspectives on contemporary printmaking
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The parallel world of photography
Ernst Rebel

The text by German art historian Ernst Rebel links the seemingly selfgenerative propensity of the new visual technology of photography in the early nineteenth century to earlier graphic processes. These exhibited a similar, if less comprehensive ‘automatism’ as photography did later. Rebel then traces the development of photography during the nineteenth century which he identifies as ‘the second transmedialisation’.

in Perspectives on contemporary printmaking
Catherine Brookes

Catherine Brooks’ text is an excerpt from the aforementioned Manual. Her short autobiographical account meditates on the close – and often surprising – interconnections between human and material, culinary and artistic relationships in the context of her work at Crown Point Press in San Francisco and Atelier René Tazé in Paris. True to the title, the colour yellow is the binding agent in the tale.

in Perspectives on contemporary printmaking
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Memory and forgetting in contemporary print work
Dierdre Brollo

Australian artist and educator Deidre Brollo explores and problematises the frequent and powerful metaphor of ‘imprint’ and ‘impression’ – since antiquity – in relation to memory. Drawing on recent neuroscientific theories, she counters the assumption of a static and passive notion of memory storage with current, ‘dynamic’ and ‘distributed’ models of memory.

in Perspectives on contemporary printmaking