If you've ever wanted to own an original print by one of the best stencilists in the world, then now's your chance. Ian Millard's latest release, “The Summit," was printed entirely on Stonehenge.
Each edition is limited to 30 and come signed, numbered, embossed and with a hand made certificate of authenticity (COA).
The auction is taking place now on www.posterdistrict.com
“Book as Witness: The Artist’s Response,” the current exhibit at the Center for Book Arts in New York City, is not for those looking for a bit of light-hearted diversion on a summer day. Organized by Maria G. Pisano, founder of the Plainsboro-based Memory Press, it includes work produced by nearly three-dozen artists in response to profound personal and global loss.
Artists represented in the show, which runs through September 22, include individual artists, like the Pulitzer Prize-winning cartoonist Art Spiegelman, as well as members of collectives like the Combat Papermakers, veterans who use the uniforms they wore in battle to create sheets of paper for new works of art.
Click here for more information and the full article written by Ellen Gilbert.
The hand painting of paper edges is enjoying a renewed appreciation among modern consumers of fine stationery and invitations. In response to this trend, William Arthur, Inc. has introduced a line of stationery featuring custom, hand-painted edges on business, calling and correspondence cards, as well as on wedding and event invitations.
“What’s old is new again,” observes Lisa Blinn, Vice President of Design and Marketing for the luxury brand. “We specialize in unique, custom printing for the discerning customer. In recent years we’ve observed a growing appreciation for fine printing and artisanal papers. Offering hand-painted edges to our customers is an exciting addition to our line.”
“As media in our culture become increasingly digitized, time-honored print methods such as letterpress and engraving serve as an antidote.” Blinn continues. “There’s a renewed appreciation of fine craftsmanship. Hand-painted edges on invitations, business and correspondence cards is another example of consumers seeking a richer, more tactile connection when they communicate and express their identities.”
Painting the edges of paper began as a bookbinding practice in the 13th century as a way to help preserve the edges of book pages. Later, in the 18th century, the edges of devotional books were painted red. The edging process evolved into a rise in popularity of gilt-edged books in the 19th and 20th centuries as a sign of status. Hand-painted edges have enjoyed resurgence in recent years in the wedding and fine stationery milieu, especially among younger consumers.
“Color and paper quality are driving elements for wedding invitation consumers especially,” notes Blinn. “We believe hand-painted edges on heavyweight paper stock are so popular because they evoke timelessness, with a modern twist. A subtle hint of color, hand-painted edges are a sophisticated expression of individuality and tactile luxury.”
The grand re-opening of the latest Utrecht store in Manhattan (Chelsea on 23rd street between 7th and 8th Ave) occurred over the weekend and we were on site to check things out. The redesign is truly beautiful. Everything is laid out well and is easy to find.
The paper pad section of the store takes up an entire aisle, while the full sheeted papers are cleanly stowed away in flat files that take up an entire wall. Pretty impressive.
For the past three years, the Center for Book Arts in NYC has been involved in a Collections Initiative, which involves the in-depth cataloguing and presevation of its fine art collections, amassed over a 35 year lifespan.
Works by such artists as Ed Ruscha, Bruce Nauman, Martha Rosler, Barbara Henry, Pablo Helguera, Carlos Motta, Karina Skvirsky, and many other established and emerging artists are counted among the Center’s collections.
This permanent collection is now on tour nationally, currently at the Museum of Printing History in Houston and heading to Lafayette College in the fall.
The exhbition of artist books, prints, catalogues and ephemera demonstrates the breadth and caliber of its collection, which will stand as a valuable resource for artists, scholars, writers, educators and the general public. Marking the culmination of the three-year initiative, Multipe, Limited, Unique offers an overview of the history and development of book arts over the past 40 years, and examines the role of the institution in both nurturing and promoting innovative artists and preserving traditional artistic practices.