| | BOOK FORMAT
Clth, 9.5 x 12 in. / 256 pgs / 150 color. PUBLISHING STATUS
Pub Date 11/21/2023
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Catalog: FALL 2023 p. 14 PRODUCT DETAILS
ISBN 9789493039759 TRADE
List Price: $125.00 CAD $181.00 AVAILABILITY
In stock | TERRITORY
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| | | Kerry James Marshall: The Complete Prints1976–2022By Susan Tallman.
 A complete survey of Marshall’s prints from the 1970s to the present, with many previously unseen worksKerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut Untitled (1998–99), to iterations of his ongoing magnum opus Rythm Mastr. And while some have entered prominent museum collections, many exist only in private collections or the artist’s archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall’s work as a whole.
Kerry James Marshall was born in Birmingham, Alabama, in 1955, later moving to Los Angeles. He taught painting for many years at the School of Art and Design at the University of Illinois at Chicago. In 2013, he was named for the Committee on the Arts and the Humanities by President Barack Obama. In 2017, Marshall was included on the annual Time 100 list of the most influential people in the world. The National Cathedral in Washington, DC, is currently working with Marshall to create two new stained-glass windows. Marshall lives and works in Chicago.
Massachusetts- and Berlin-based art historian Susan Tallman has written extensively on contemporary art, the history of prints and aspects of authenticity.
PRAISE AND REVIEWSThe New York Times Book Review Lauren Christensen Traces a lifelong reverence for the materiality of all visual art. New Yorker Françoise Mouly As Tallman’s book makes clear, Marshall’s abiding interest lies in the exploration that is born in making interconnected, often printed images that jumble and fuse. This interest may be the source of his singular creative output, which has made him one of the most consistently innovative artists of our time. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 2/1/2024 In celebration of Black History month, we're highlighting the work of Kerry James Marshall, certainly one of the greatest painters of his generation but also an innovative master printmaker. “Today, Marshall is one of the world’s most celebrated artists, hailed for having redefined Blackness as a visual device and cultural subject, as well as for opening new vistas on what pictorial art can be and do,” the noted art historian and critic Susan Tallman writes in her comprehensive new survey, Kerry James Marshall: The Complete Prints, 1976–2022. "His grand figurative paintings are often larger than the entire six-by-nine footprint of the room at the South Side Chicago YMCA … where he resided for three years. Yet some things remain the same: Black faces still anchor his images, and printing is still central to the enterprise. Like Rembrandt or Mary Cassatt or Edvard Munch, Marshall is a peintre-graveur—a painter who uses printmaking as a way of thinking, of aligning image and surface, of being in the world.” Featured image is the 1982 woodcut Nat, made from two pieces of found wood, printed in two hues of black, and inspired by the slave rebellion leader Nat Turner. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 11/20/2023 Featured spreads are from Kerry James Marshall: The Complete Prints, 1976–2022, a 2023 staff pick Holiday Gift Book for art lovers. Featured this weekend in the New York Times Book Review, this is a comprehensive, beautifully designed survey spanning from the mid-70s until now—deeply researched by the noted art historian and critic Susan Tallman. Marshall “understands that art can be magical,” Tallman writes. “He has been under its spell since kindergarten. But he recognizes the magic as a product of informed decisions about color, composition, surface textures, the qualities of particular edges. He also understands that if you know the answer to a problem before starting out, it’s not really a problem. Printmaking, which adds a variety of physical and logistical complications to the act of making pictures, has always appealed to artists who enjoy a good problem, and Marshall has a fondness for the obstacle-strewn route—employing found lumber, printing his own work, doing everything himself long past the moment in his career when most artists choose to outsource the tedious bits of execution—because all of it is ‘part of a process of figuring out what can be done, and what works best, and how it all looks. The adventure of being an artist, and making art, is to not always know how things are going to turn out.’” continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 11/20/2023Featured spreads are from Kerry James Marshall: The Complete Prints, 1976–2022, a 2023 staff pick Holiday Gift Book for art lovers. Featured this weekend in the New York Times Book Review, this is a comprehensive, beautifully designed survey spanning from the mid-70s until now—deeply researched by the noted art historian and critic Susan Tallman. Marshall “understands that art can be magical,” Tallman writes. “He has been under its spell since kindergarten. But he recognizes the magic as a product of informed decisions about color, composition, surface textures, the qualities of particular edges. He also understands that if you know the answer to a problem before starting out, it’s not really a problem. Printmaking, which adds a variety of physical and logistical complications to the act of making pictures, has always appealed to artists who enjoy a good problem, and Marshall has a fondness for the obstacle-strewn route—employing found lumber, printing his own work, doing everything himself long past the moment in his career when most artists choose to outsource the tedious bits of execution—because all of it is ‘part of a process of figuring out what can be done, and what works best, and how it all looks. The adventure of being an artist, and making art, is to not always know how things are going to turn out.’” continue to blog | |  | D.A.P./Distributed Art PublishersISBN: 9789493039759
USD $125.00 | CAD $181Pub Date: 11/21/2023
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