This eclectic collection pulls together some of the best presentations made at the North American Print Conference held in Austin, Texas. Focusing on the printing arts in Texas, this group of leading scholars and authorities covered a wide range of subjects from early lithography and photography in Texas to today's armadillo posters and T-shirts. The high arts and popular culture alike are treated in this broad overview of prints and printmaking on the Texas frontier and in its urban centers. Contributors: * R. Pearce-Moses, "From Niépce to Now: Thirty Million Photographs in Texas" * R. Cox, "Dust Bowl Realism: Texas Printmakers and the FSA Photographers of the Great Depression" * F. Carraro, "Jerry Bywaters: A Texas Printmaker" * D. Farmer, "The Printmakers Guild and Women Printmakers in Texas, 1939-1965" * P. H. Brink, "The Galveston That Was: Requiem or Inspiration?" * N. Jacobson, "Armadillos, Peccadilloes, and the Maverick Posterists of Austin, Texas" * J. H. Fox, "TexStyle Art: The Evolution of Quality Silkscreened Imagery upon T-Shirts in Austin, Texas, 1968-1988" * K. B. Ragsdale, "W. D. Smithers: Pictorial Chronicler of the Big Bend Country of Texas" * B. Huseman, "The Beginnings of Lithography in Texas" * K. J. Adams, "Texas Impressions: Graphic Arts and the Republic of Texas, 1836-1845" * J. P. McGuire and D. Haynes, "William DeRyee, Carl G. von Iwonski, and Homeography, a Printing Process" * C. Brandimarte, "Immaterial Girls: Prints of Pageantry and Dance, 1900-1936" * R. Flukinger, "The Panoramic Photography of E. O. Goldbeck"

"An exploration of historical and contemporary fine art printmaking, with an emphasis on the roles and processes of the artist, master printer, and publisher"--

Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.

Since the late eighteenth century, the Adirondacks—first characterized as a "Dismal Wilderness" and then a "Sportsman's Paradise"—has challenged cartographers, scientists, sportsmen, travelers, and artists. In a volume that covers nearly three hundred years of artistic achievement, Adirondack Museum curator Caroline M. Welsh includes essays that were originally presented at the 1995 North American Print Conference at the Adirondack Museum. Comprehensive in scope and lavishly illustrated, the book embodies the artistic spectrum from the documentary to the aesthetic. Paintings of Adirondack scenery were frequently reproduced as prints. Lithographs after original paintings disseminated affordable fine art to a broad middle class, exemplifying a pervasive nineteenth-century faith that art. By 1850, this northern expanse became a sanctuary for artists. Inspired by the drama of the landscape, the purity of the light, and the grandeur of its rugged wilderness, artists flocked to the region. From Winslow Homer, Dr. Arpad Gerster, and the French naturalist Jacques Gerard Milbert to Canadian artist David Milne, Adirondack Prints and Printmakers underscores the importance of the wilderness landscape in American art and culture and the role that prints have played to document, promote, and celebrate the Adirondacks.

Masterplans Available NowSelected by Steve Almond for winner of The Masters Review's Chapbook Open for Emerging Writers. Nick Almeida's writing has appeared in or is forthcoming from Pleiades, American Literary Review, The Southeast Review, Waxwing, Mid-American Review, and elsewhere. He is a PhD candidate at University of Houston and holds an MFA from The Michener Center for Writers. His chapbook, Masterplans, is the grand prize winner of The Masters Review's inaugural Chapbook Contest in Fiction, selected by judge Steve Almond, and is available now.

In 1910, Bertha Jaques co-founded the Chicago Society of Etchers and helped launch a revival of American fine art printmaking. In the decades following, women artists produced some of the most compelling images in U.S. printmaking history and helped advance the medium technically and stylistically. Paths to the Press examines American women artists' contributions to printmaking in the U.S. during the early to mid twentieth century. It features work by internationally and nationally recognized figures such as Isabel Bishop, Louise Nevelson, and Elizabeth Catlett; well-known regional figures such as Chicago artist Bertha Jaques, New Mexico artist Gener Kloss, and Louisiana artist Caroline Durieux; and relatively unknown printmakers such as Chicago artist Fritzi Brod, San Franciscan Pele deLappe, and Texan Mary Bonner. The contributors include David Acton, Nancy E. Green, Melanie Herzog, Helen Langa, Bill North, Mark Pascale, and Mark B. Pohlad.

A collection of illustrated black-and-white engravings depicting the history of Texas from 1554 to 1900 presented chronologically and featuring a brief introduction to the historical background of each era.

Sweetie Ladd was Fort Worth's own "Grandma" Moses, a folk artist who captured the city's history in watercolor and lithograph. In her sixties when she began painting, Ladd once told a fellow artist she didn't know how she achieved her distinctive style. "Just paint poorly, dear," she advised. In truth, she had attended painting workshops in Paris, Spain, and Mexico and studied under Fort Worth artist Bror Utter. After she took a class on perspective, her teacher advised her to discontinue formal training and paint what came naturally. Sweetie Ladd's Historic Fort Worth presents twenty-eight paintings from the Landmark Series, paintings of historic Fort Worth structures, many of which no longer stand today: the T&P Station, Lake Como Pavilion, the Nine-Mile Bridge Casino, the Worth Hotel, the lobby of the Majestic Theater, Goat Island, and the Lake Erie Interurban. The book also contains the "Cries of Fort Worth" series based on Wheatley's "Cries of London." These ten paintings portray such old-time peddlars as the ice man, the scissor man, the bottleman, and the tamale seller. Ladd didn't simply draw the buildings or landmarks. She put them in an action setting. "The Day Fort Worth Burned" shows several young children watching the flames from a field. Two of the children are Sweetie Ladd and her sister, who were in that very field that day. Two young boys also watching could have been the Monnig brothers, Otto and Oscar. She remembered they were there that day. Other pictures include names longtime Fort Worth residents will find familiar: the horse-drawn Ballard Ice Cream Truck passes in front of the Scott home, now known as Thistle Hill; Mrs. Baird's Bread is the sign on a horse-drawn carriage in "The Breadman"; a Stripling's delivery cart is in front of the J. E. Moore home (now part of the Woman's Club); a horse-drawn funeral procession passes in front of the old Washer Brothers building; and Fuqua's Grocery sits next to Anderson Drugs in "Extra--Extra," one of the "Cries" series in which a young boy passes out the Fort Worth Star-Telegram. Sweetie Ladd's paintings were shown at the Woman's Club of Fort Worth and accepted in juried shows of the University of Texas at Arlington, the Fort Worth Art Museum, and the Texas Fine Arts Association. These historical paintings are now owned by the Fort Worth Public Library and have been reproduced with their cooperation. Cissy Stewart Lale's text elucidates each painting, explaining details and their historical significance. The book begins with brief essays on Mrs. Ladd and Fort Worth history.

Monografie over leven en werk van de Mexicaanse prentkunstenaar (1902-1969), met de nadruk op de jaren dertig en veertig waarin hij politiek zeer actief was. Ook de invloeden van en naar andere kunstenaars uit zijn tijd komen aan bod.

"Celebrates the diversity of visual art created by women living and working in the western half of Texas, far from urban art communities and large national markets. Samples creative expression and method; explores the influence of the expansiveness and relative isolation of the region upon the selected artists' work"--Provided by publisher.