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• Interview the artist / Carter Ratcliff
• A conversation with Alex Katz, 2009 / Marietta Mautner Markhof and Gunhild Bauer
• A conversation with Alex Katz, 2022 / Gunhild Bauer
• The printer's side / Vivien Bittencourt
• Alex Katz's collaborations with poets / Vincent Katz
• "Cude-ism" in Alex Katz's recent prints / Vivien Bittencourt and Vincent Katz

Before the rise of Pop Art proper, Alex Katz developed an iconic style of figurative painting in the early 1960s- influenced by film, television, and billboard advertising. Seemingly detached and incredibly stylish, he created portraits of the New York scene as well as idyllic landscapes. Printmaking plays an equally central role in Katz's work. He uses lithographs, etchings, silkscreens, woodcuts and linocuts to reproduce, reflect and further reduce his bold aesthetic, while retaining the radiant color characteristic for his paintings. Since the first edition in 2011, Katz has almost doubled his output of prints--this timely new edition includes his complete prints, cutout editions, artists' books, and also lists his works of applied art like book illustrations and public art projects. New essays and interviews with the artist give profound insights into the work of one of the foremost American artists of the present

"Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya's renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya's print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya's artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war's atrocities was central to Goya's project, the lasting power of the print series stems from the artist's complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya's masterpiece extends far beyond conventional understandings of visual testimony."-- Provided by publisher

• Printing Ay-Ō's work has been the most incredible career / Sukeda Kenryō
• Ay-Ō's happy rainbow hell / Kit Brooks

"Ay-Ō Happy Rainbow Hell will accompany an exhibition of works of art by Japanese artist Ay-Ō, scheduled to open in the National Museum of Asian Art's Arthur M. Sackler Gallery on March 25, 2023 and close on September 10, 2023. Known as "The Rainbow Artist," Ay-Ō (b. 1931) is internationally regarded for his prismatic silkscreen prints and for covering a kaleidoscopic range of subjects from the human body to the natural world to glistening machinery. The artist's rainbow aesthetic is a fixation he has maintained-and by his admission, has been compelled to produce-for over six decades, with a focus on silkscreen prints since the 1970s. The exhibition Ay-Ō's Happy Rainbow Hell will feature approximately eighty works and will be the first solo show dedicated to a representative display of Ay-Ō's works in a major US museum. Ay-Ō Happy Rainbow Hell, the accompanying fully illustrated catalogue, will be the first monographic publication on Ay-Ō for an English-speaking audience. The publication provides an essay describing the artist's biography and significance as well as detailed entries for many of the works in the exhibition. The catalogue also includes a message from the artist and an essay from Ay-Ō's longtime printer Sukeda Kenryō exploring how Ay-Ō's silkscreens push the medium to its limits, taking from three months to up to a year to complete"-- Provided by publisher

• Director's foreword
• Acknowledgments
• Leo Steinberg and his library of prints / Holly Borham
• Steinberg as a scholar / Holly Borham
• Leo Steinberg's print affair / Peter Parshall
• The Leo Steinberg collection: highlights of western printmaking / Holly Borham
• Glossary

Leo Steinberg was the rare art historian who turned his inquisitive eye and captivating prose to both Renaissance and modern art. His astonishingly wide-ranging scholarship addresses such canonical artists as Michelangelo Buonarroti, Leonardo da Vinci, Peter Paul Rubens, Pablo Picasso, and Jasper Johns. While Steinberg's significance to the field of art history is widely acknowledged, his activity as a print collector is less well-known. Beginning in the early 1960s with only the meager budget of a part-time art history professor, Steinberg amassed a collection that comprehensively illustrates the history of European printmaking. Akin to books on a shelf, Steinberg's prints formed a visual library that shaped his scholarship in fundamental ways. Selections from his over 3500 prints will illuminate Steinberg's insight that prints are the "circulating lifeblood of ideas," disseminating compositions, motifs, and styles across geographic, material and temporal boundaries, while also presenting highlights of the European printmaking tradition.

With around 130 masterpieces, the exhibition showcases Albrecht Dürer's entire artistic oeuvre. For the first time, the multi-faceted history of the inventory itself is also made visible. It leads from the beginnings of the Kupferstichkabinett in 1831 and the founding of the Reich in 1871, through the Gründerzeit and the years of National Socialism to the war-related division of the holdings and their reunification in the Kulturforum in 1994. Today, the Berlin Kupferstichkabinett has one of the world's most important collections of hand drawings and prints by Dürer.

• Picturing history
• Reinventing the past
• The historical game
• Visual history as a new language

"Extending the scholarly discussion of visual history, this book examines eighteenth-century engraved book illustrations in order to outline the genealogy of the modern visualization of the past in Britain. This study is based on a body of more than a hundred engraved historical plates designed in the second half of the eighteenth century in Britain and published in more than a dozen pictorial histories. Focusing on these previously unstudied engravings, this work contributes to the study of eighteenth-century visual culture and is informed by current interdisciplinary approaches at the intersection of visual and book studies. This book is about the urge to envision the past and about the establishment of the new relationship between visual media, visuality and history in eighteenth-century Britain. The book will be of interest to scholars working in art history, British history, book studies, and visual culture"-- Provided by publisher

• 1. Fucking ticks
• 2. Shock
• 3. Mobile border wall
• 4. Improvised water filters
• 5. Flying a chopper
• 6. Eating insects
• 7. Black bear encounter
• 8. Mass exodus
• 9. Escaping a sinking motor vehicle
• 10. Making a boat from the ruins of a 'gas station'
• 11. Landing a plane
• 12. Book code
• 13. Shark attack
• 14. Rip tide
• 15. Active shooter
• 16. When guard dogs attack
• 17. S.T.A.R.T.
• 18. B-nice
• 19. Lying
• 20. Survive a nuke attack.

Taking a new approach to the work of the ever-popular Katsushika Hokusai (1760-1849), this major exhibition explores in detail his impact on other artists, both during his lifetime and beyond. Throughout a career of more than 70 years, Hokusai experimented with a wide range of styles and subjects, producing landscapes such as the instantly recognizable Great Wave and Red Fuji (both about 1830-31), nature studies known as: bird-and-flower pictures, and depictions of women, heroes, and monsters. The exhibition brings together over 90 woodblock prints, paintings, and illustrated books by Hokusai with some 170 works by his teachers, students, rivals, and admirers. These unique juxtapositions demonstrate Hokusai's influence through time and space, seen in works by, among others, his daughter Katsushika, his contemporaries Utagawa Hiroshige and Utagawa Kuniyoshi, the 19th-century French Japonistes, and modern and contemporary artists including Loïs Mailou Jones, Yayoi Kusama, John Cederquist, and Yoshitomo Nara. Exhibition: Museum of Fine Arts, Boston, USA (26.03. - 16.07.2023)

Hokusai's Thirty-six Views of Mount Fuji and the three volumes of his subsequent One Hundred Views of Mount Fuji show his fascination with a single motif: Mount Fuji. Hokusai's near-obsession with Fuji was part of his hankering after artistic immortality ? in Buddhist and Daoist tradition, Fuji was thought to hold the secret to eternal life, as one popular interpretation of its name suggests: 'Fu-shi' ('not death'). Thirty-six Views of Mount Fuji was produced from c. 1830 to 1832 when Hokusai was in his seventies and at the height of his career. Among the prints are three of the artist's most famous: The Great Wave off Kanagawa, Fine Wind, Clear Morning and Thunderstorm Beneath the Summit. By the time he created his second great tribute to Mount Fuji, three volumes comprising One Hundred Views of Mount Fuji, he was using the artist names Gakyo rojin ('Old Man Crazy to Paint'), and Manji ('Ten Thousand Things', or 'Everything'). Contrasting the mountain's steadfastness and solidity with the ravages of the surrounding elements, Hokusai depicts Fuji through different seasons, weather conditions and settings, and in so doing communicates an important message: while life changes, Fuji stands still.0 0Including all the illustrations from these two masterpieces, this book also features many of Hokusai?s earlier renditions of the mountain, as well as later paintings. In this way, through Mount Fuji, this volume traces a history of Hokusai?s oeuvre overall.

• Part 1. Text
• Part 2. Plates
• Part 3. Copies.

"As one of the most important painter-etchers of the Dutch Golden Age, the print oeuvre of the Haarlem artist Adriaen van Ostade had been catalogued a number of times during the past two centuries, most thoroughly by Louis Godefroy in 1930, now almost a hundred years ago. His pioneering work has now been brought up-to-date and expanded by this new catalogue raisonné of Van Ostade's etchings.To compile these New Hollstein volumes on Adriaen van Ostade, more collections than ever before were consulted. An almost infinite number of digital photographs of thousands of impressions was thus obtained. By minutely comparing these a much more accurate description of the numerous states of his prints could be made, as well as a distinction between contemporary and posthumous states. All of these are illustrated. Moreover, Van Ostade's etched oeuvre is arranged chronologically for the first time and many previously unknown copies after his prints are listed and illustrated. The introduction offers new insights into the artist's development as an etcher. An explanation is, for instance, sought for Van Ostade's sudden loss of interest in etching around 1653, after a few productive years in this field."-- Provided by publisher.