Published by The Museum of Modern Art, New York. Text by Sarah Suzuki.
Though he was deeply engaged with painting and drawing, Toulouse-Lautrec’s lasting contribution to artistic practice was as a graphic artist. Through his prints and posters, he brought the language of the late-nineteenth-century French avant-garde to a broad public, through editioned prints, advertisements and contributions in reviews and magazines. He ushered in the first print boom of the modern era; taking advantage of lithography’s new potential for color and scale, he made both posters for the streets of Paris and prints for the new bourgeois collector’s living room. During his short career, he created more than 350 prints and 30 posters, as well as lithographed theater programs and covers for books and sheet music. The Museum of Modern Art’s collection of this material is stellar, encompassing over 100 prints and posters, his most important book projects, and many magazines, journals and other examples of printed ephemera. A cultural nexus, Toulouse-Lautrec connected artists, performers, authors, intellectuals and society figures of his day, creating a bridge between the brothels and society salons of the Belle Epoque. His work allows entry into many facets of Parisian life of the period, from politics and economics to visual culture and the rise of popular entertainment in the form of cabarets and café-concerts. Featuring an overview essay by Sarah Suzuki, Associate Curator in the Department of Drawings and Prints at MoMA, this publication presents thematically organized groupings of Toulouse-Lautrec’s prints from the Museum’s collection, each accompanied by an illuminating essay on the theme. Inserted into the book is a 20" x 17" poster titled "Mademoiselle Eglantine's Troupe." Henri de Toulouse-Lautrec (1864–1901) is best known for his portrayals of late-nineteenth-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. His greatest contemporary impact was his series of 30 posters (1891–1901), which transformed the aesthetics of poster art.
Sarah Suzuki is Curator in the Department of Drawings and Prints at The Museum of Modern Art.
Published by The Museum of Modern Art, New York. Edited and with text by Sarah Suzuki. Text by Brenna Campbell, Scott Gerson, Lynda Zycherman.
Dieter Roth’s wildly inventive artistic practice encompassed everything from painting and sculpture to film and video, but it is arguably through his editioned works--books, prints and multiples--that he made his most important and radical contributions. These experiments include literature sausages filled with ground-up books, newspapers or magazines in place of meat; the use of organic materials like pudding or fruit juice in lieu of printing inks; multiples of plastic toys mired in chocolate; and a dazzling array of variations on printed postcards. Taken together, these works offer an utterly radicalized view of mediums that are historically considered staid and traditional, while giving insight into one of the artistic titans of the twentieth century. Published in conjunction with an exhibition at The Museum of Modern Art, and focusing on the prolific period between 1960 and 1972, this volume highlights examples of Roth’s most exciting and innovative books and graphics. An essay by curator Sarah Suzuki uses an extended investigation of “Snow” (1964–1969), a complex book-sculpture, as a touchstone from which to further investigate Roth’s use of language, iconography, technical innovations and relationships to other artists. A conservation essay offers two case studies that explore preservation issues and address larger concerns about the challenges of conserving contemporary art and organic materials.
Published by The Museum of Modern Art, New York. By Samuil Marshak, Vladimir Lebedev. Afterword by Sarah Suzuki.
During the 1920s, avant-garde Russian authors and artists worked with fervent dedication to create a new type of children’s literature, drawing on both the aesthetic innovations of the period and contemporary social and political philosophy to inspire and stimulate young minds. This whimsical children’s picture book is one of numerous remarkable collaborations between artist and illustrator Vladimir Lebedev and poet, translator and children’s writer Samuil Marshak, many of which are now in the collection of The Museum of Modern Art, New York. This volume reproduces the original book in size, shape and layout, with new English translations in place of the Russian and an accompanying text by curator Sarah Suzuki. The dynamic graphic compositions and playful rhyming texts remain as compelling today as they were nearly a century ago.
Published by The Museum of Modern Art, New York. Edited by Christophe Cherix. Text by Christophe Cherix, Kim Conaty, Sarah Suzuki.
Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to printmaking, from the resurgence of traditional printing techniques--often used alongside digital technologies--to the worldwide proliferation of self-published artist’s books and ephemera. Print/Out features focused sections on ten artists and publishers--Ai Weiwei, Edition Jacob Samuel, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Aleksandra Mir, museum in progress, Robert Rauschenberg, Superflex and Rirkrit Tiravanija--as well as rich illustrations of additional printed projects from the last 20 years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at the Museum, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking.
Published by The Museum of Modern Art, New York. Edited by Juliet Kinchin. Text by Tanya Harrod, Medea Hoch, Juliet Kinchin, Francis Luca, Maria Paola Maino, Amy Ogata, Aidan O'Connor, David Senior, Sarah Suzuki.
In 1900, Swedish design reformer and social theorist Ellen Key published The Century of the Child, presaging the coming century as a period of intensified focus and progressive thinking around the rights, development and well-being of children. Taking inspiration from Key-and looking back through the twentieth century-this volume, published to accompany an exhibition at The Museum of Modern Art, examines individual and collective visions for the material world of children, from utopian dreams for the "citizens of the future" to the dark realities of political conflict and exploitation. Surveying more than 100 years of toys, clothing, playgrounds, schools, children's hospitals, nurseries, furniture, posters, animation and books, this richly illustrated catalogue illuminates how progressive design has enhanced the physical, intellectual, and emotional development of children and, conversely, how models of children's play have informed experimental aesthetics and imaginative design thinking-engendering, in the process, reappraisals of some of the iconic names in twentieth-century design and enriching the unfolding narrative of modern design with other, less familiar figures. Divided into seven sections-"New Century, New Child, New Art"; "Avant-Garde Playtime"; "Light, Air, Health"; "Children and the Body Politic"; "Regeneration"; "Power Play"; and "Designing Better Worlds"-The Century of the Child focuses on individuals and projects that represent innovative and comprehensive contributions to design for children.
Published by The Museum of Modern Art, New York. Edited by Sarah Suzuki.
What is a print? This volume aims to answer that question by exploring the four basic printmaking techniques--woodcut, intaglio, lithography and screenprint--that have been used to create some of the most iconic images in modern art, from Paul Gauguin's Noa Noa to Andy Warhol's Marilyn Monroe. Illustrated with works from The Museum of Modern Art's superlative collection of prints, the book is divided into four sections that provide an overview introduction to each technique. Each section presents approximately 40 prints that demonstrate the range and variety of a particular technique and illustrate its development over the last century. Extended captions highlight the distinctive visual effects unique to each technique, and examine issues specific to printmaking, such as democratic ideas about distribution and social and political function. Featured works range from Edvard Munch's radical woodcut experiments from the 1890s to Kelley Walker's digital experiments of the last several years, and include prints by modern masters like Pablo Picasso and Joan Miró as well as those made by a roster of international contemporary artists who continue to explore and expand these techniques today.