Christophe Cherix Knihy

Catalog of an exhibition held at the Museum of Modern Art, New York, March 15-September 1, 2014.

La manifestation a changé de nom: d'abord Triennale de l'estampe originale (1992, 1995, 1998), puis Concours triennal international de l'estampe originale (2001), puis LLP04 Triennale de l'estampe contemporaine (2004), et enfin Triennale de l'art imprimé contemporain

Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d'artiste. As he has delineated the genre: “Artists' books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists' books, endowing them with the critical credentials to enter the collections of museums. Booktrek gathers for the first time Phillpot's essays on the definition and development of artists' books from 1972 to the present--historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist's book, and offers a crucial account of the genre's ascent

Made at a critical juncture in Betye Saar’s (born 1926) career, the enigmatic assemblage Black Girl’s Window (1969) was recognized by the artist as a crucial link between her past and future even at the time she made it. Saar has drawn upon family history, spirituality, astrology and politics consistently throughout her 60-year career, and all are present in the prints, drawings and found material neatly ensconced within the gridded panes of the antique window frame that is the work’s defining element.This in-depth study by curators Christophe Cherix and Esther Adler expands our understanding of Saar’s early career and casts light on all that followed. Drawing on new research into the work’s construction and materials, and on firsthand discussions with the artist regarding the making of Black Girl’s Window and the themes behind her evocative imagery, this concise, generously illustrated volume explores one of Saar’s best-known and most iconic works.