Marcia Reed – författare

This title explores the curiosity and collaboration that has existed between East and West for centuries. The striking illustrated books, maps, and prints featured in China on Paper are some of the most notable among the printed works produced at the dawn of the era of global trade to present China to Europe and bring Western science, religion, and art to China. From a Chinese translation of the rosary to French editions of Confucian classics, from a monumental map of the world to magnificent engravings of the European pavilions built by Jesuits at the behest of the Qianlong emperor - these works on paper reveal a compelling and largely hidden history of mutual curiosity and fruitful collaboration at a time when few people travelled far from home.

The Edible Monument considers the elaborate architecture, sculpture, and floats designed for court and civic celebrations in early modern Europe, including popular festivals such as Carnival and the Italian Cuccagna. Like illuminations and fireworks, ephemeral artworks made of food were not well documented and were difficult to describe because they were perishable and thus quickly consumed or destroyed. In times before photography and cookbooks, there were neither literary models nor iconography for how food and its preparation should be explained or depicted. Drawing on books, prints, and scrolls that document festival arts, elaborate banquets, and street feasts, the essays in this volume examine the mythic themes and personas employed to honor and celebrate rulers; the methods, materials, and wares used to prepare, depict, and serve food; and how foods such as sugar were transformed to express political goals or accomplishments. Although made for consumption, food could also be a work of art, both a special attraction and an expression of power.Formal occasions and spontaneous celebrations drew communities together, while special foods and seasonal menus revived ancient legends, evoking memories and recalling shared histories, values, and tastes. This book is published on the occasion of an exhibition at the Getty Research Center from October 13, 2015, to March 23, 2016.

Ever innovative and predictably diverse in their physical formats, artists' books occupy a creative space between the familiar four-cornered object and challenging works of art that effectively question every preconception of what a book can be. Many artists specialize in producing self-contained art projects in the form of books, like Ken Campbell and Susan King, or they establish small presses, like Simon Cutts and Erica Van Horn's Coracle Press or Harry and Sandra Reese's Turkey Press. Countless others who are primarily known as sculptors, painters, or performance artists carry on a parallel practice in artists' books, including Anselm Kiefer, Annette Messager, Ed Ruscha, and Richard Tuttle. Artists and Their Books / Books and Their Artists includes eighty important examples selected from the Getty Research Institute's Special Collections of more than six thousand editions and unique artists' books. This elegant catalogue also presents precursors to the artist's book, such as Joris Hoefnagel's sixteenth-century calligraphy masterpiece; single-sheet episodes from Albrecht DuIA rer's Life of Mary, designed to be either broadsides or a book; early illustrated scientific works; and avant-garde publications. Twentieth-century works reveal the impact of artists' books on Pop art, Fluxus, Conceptual, feminist art, and postmodernism. The selection of books by an international range of artists who have chosen to work with texts and images on paper provokes new inquiry into the nature of art and books in contemporary culture.

An exploration of the radical artists who transformed the ways art is conceived, exhibited, and collected, through the Dada, Surrealist, and Fluxus collections of Jean and Leonard Brown. Throughout the 1960s, Jean and Leonard Brown used their radical tastes, prescient instincts, and friendships with artists to assemble an extensive archive of Dada and Surrealist publications and prints--including works by Marcel Duchamp, Man Ray, and Tristan Tzara. After Leonard's death in 1970, Jean's attention turned to Fluxus and other contemporary genres. Jean also established a site of alternative art production at her Shaker Seed House in Tyringham, Massachusetts, where she invited artists to engage with her collections. Fluxus works embraced the social and political critiques of earlier avant-garde artists and questioned the authority of the increasingly powerful contemporary art world of critics, collectors, curators, and gallerists. This examination of artists and their antiestablishment demands for change shows how their art was created, performed, exhibited, and collected in new ways that intentionally challenged traditional modes. By providing an expanded understanding of avant-garde and Fluxus artists through the lens of the Jean Brown Archive at the Getty Research Institute, this volume demonstrates the profound influence these artists had on contemporary art. This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center November 17, 2020, to April 4, 2021.

The papers collected in this volume discuss descriptive methods and present conclusions relevant for the history of the book production and reception. Books printed in Europe in the 15th and 16th century still had much in common with manuscripts. They are not mere textual sources, but also material objects whose physical make-up and individual features need to be taken into account in library projects for cataloguing and digitization.