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Magic of Media

26 images Created 21 Nov 2018

Magic of Media: Artisan Printmaking in 1970s Great Britain

This exhibition features the never before seen collection of British artisan books and specialty illustrations at the Art Museum of the University of Memphis. Unique in both their creation and content, this group demonstrates the personality that paper and ink can express. Each work represents a particular printmaking technique, with most of the collection manufactured by the revered Circle Press Studio.

Founded in 1967 by Ronald King, Circle Press Studio was a thriving London print shop, dedicated to crafting the most elaborate artist books of the time. Their work has been featured at the National Theatre London, the Yale Center for British Art, the Gutenberg Museum, and has been highly sought after among private collectors of quality printmaking. Circle Press Studio worked with over a hundred artists, writers, and poets to create specialty artworks, whose message could only be conveyed through the media of print and paper. Using the most sophisticated printing methods and years of artisan training, King and his team created pop-up books, mirror books, stone books, concertina books, and even books made from split fire logs. Their publications incorporate embossing, vellum, foil, fabric, and illustrations.

Magic of Media invites the audience to re-engage with the art of storytelling. Here, the experience of the story goes beyond text. It is a cover-to-cover artwork, weaving together fantastical narrative with whimsical illustrations, capturing the essence of each tale in a single leaflet.

Paige Brevick, Curator

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  • Magic of Media: Artisan Printmaking in 1970s Great Britain  <br />
<br />
This exhibition features the never before seen collection of British artisan books and specialty illustrations at the Art Museum of the University of Memphis.  Unique in both their creation and content, this group demonstrates the personality that paper and ink can express.  Each work represents a particular printmaking technique, with most of the collection manufactured by the revered Circle Press Studio.  <br />
<br />
Founded in 1967 by Ronald King, Circle Press Studio was a thriving London print shop, dedicated to crafting the most elaborate artist books of the time.  Their work has been featured at the National Theatre London, the Yale Center for British Art, the Gutenberg Museum, and has been highly sought after among private collectors of quality printmaking.  Circle Press Studio worked with over a hundred artists, writers, and poets to create specialty artworks, whose message could only be conveyed through the media of print and paper.  Using the most sophisticated printing methods and years of artisan training, King and his team created pop-up books, mirror books, stone books, concertina books, and even books made from split fire logs. Their publications incorporate embossing, vellum, foil, fabric, and illustrations. <br />
<br />
Magic of Media invites the audience to re-engage with the art of storytelling.  Here, the experience of the story goes beyond text.  It is a cover-to-cover artwork, weaving together fantastical narrative with whimsical illustrations, capturing the essence of each tale in a single leaflet.   <br />
<br />
Paige Brevick, Curator
    _9309.jpg
  • Magic of Media: Artisan Printmaking in 1970s Great Britain  <br />
<br />
This exhibition features the never before seen collection of British artisan books and specialty illustrations at the Art Museum of the University of Memphis.  Unique in both their creation and content, this group demonstrates the personality that paper and ink can express.  Each work represents a particular printmaking technique, with most of the collection manufactured by the revered Circle Press Studio.  <br />
<br />
Founded in 1967 by Ronald King, Circle Press Studio was a thriving London print shop, dedicated to crafting the most elaborate artist books of the time.  Their work has been featured at the National Theatre London, the Yale Center for British Art, the Gutenberg Museum, and has been highly sought after among private collectors of quality printmaking.  Circle Press Studio worked with over a hundred artists, writers, and poets to create specialty artworks, whose message could only be conveyed through the media of print and paper.  Using the most sophisticated printing methods and years of artisan training, King and his team created pop-up books, mirror books, stone books, concertina books, and even books made from split fire logs. Their publications incorporate embossing, vellum, foil, fabric, and illustrations. <br />
<br />
Magic of Media invites the audience to re-engage with the art of storytelling.  Here, the experience of the story goes beyond text.  It is a cover-to-cover artwork, weaving together fantastical narrative with whimsical illustrations, capturing the essence of each tale in a single leaflet.   <br />
<br />
Paige Brevick, Curator
    _9320.jpg
  • John Christie (b. 1945, England)  <br />
Red Bird, 1979, text by Christopher Logue inspired by Pablo Neruda  <br />
10 colored screenprints  <br />
Circle Press Studio <br />
Gift of Mr. Stan Babbit, 1989.12.9<br />
<br />
<br />
<br />
With artwork in the Tate Gallery, the Yale Center for British Art, and numerous rare books collections throughout the world, Christie’s illustrations are some of the most sought after among modern printmakers.  In Red Bird, he layers provoking magazine cut-outs with his own illustrations and pastel details.  These images hold true to Christie’s inclination for story-telling, where the combination of color, pattern, and image may stand alone or alongside the text.
    IMG_1400.jpg
  • Michael Kidner embraced ideologies from the constructivist art movement, incorporating his love of complex mathematics and wave theory into his work.  The Elastic Membrane exemplifies this complex harmony between chaos and order.  Through 1973-1980, Kidner experimented with elastics, stretching elastic cloth over large wooden frames and manipulating the resulting geometric canvas.  This collaborative work with Circle Press Studio demonstrates the assembly style approach from constructivism that Kidner blends with organic lines in fabric and paper.
    IMG_1401.jpg
  • Michael Kidner embraced ideologies from the constructivist art movement, incorporating his love of complex mathematics and wave theory into his work.  The Elastic Membrane exemplifies this complex harmony between chaos and order.  Through 1973-1980, Kidner experimented with elastics, stretching elastic cloth over large wooden frames and manipulating the resulting geometric canvas.  This collaborative work with Circle Press Studio demonstrates the assembly style approach from constructivism that Kidner blends with organic lines in fabric and paper.
    IMG_1402.jpg
  • Michael Kidner embraced ideologies from the constructivist art movement, incorporating his love of complex mathematics and wave theory into his work.  The Elastic Membrane exemplifies this complex harmony between chaos and order.  Through 1973-1980, Kidner experimented with elastics, stretching elastic cloth over large wooden frames and manipulating the resulting geometric canvas.  This collaborative work with Circle Press Studio demonstrates the assembly style approach from constructivism that Kidner blends with organic lines in fabric and paper.
    IMG_1404.jpg
  • Michael Kidner embraced ideologies from the constructivist art movement, incorporating his love of complex mathematics and wave theory into his work.  The Elastic Membrane exemplifies this complex harmony between chaos and order.  Through 1973-1980, Kidner experimented with elastics, stretching elastic cloth over large wooden frames and manipulating the resulting geometric canvas.  This collaborative work with Circle Press Studio demonstrates the assembly style approach from constructivism that Kidner blends with organic lines in fabric and paper.
    IMG_1405.jpg
  • Michael Kidner embraced ideologies from the constructivist art movement, incorporating his love of complex mathematics and wave theory into his work.  The Elastic Membrane exemplifies this complex harmony between chaos and order.  Through 1973-1980, Kidner experimented with elastics, stretching elastic cloth over large wooden frames and manipulating the resulting geometric canvas.  This collaborative work with Circle Press Studio demonstrates the assembly style approach from constructivism that Kidner blends with organic lines in fabric and paper.
    IMG_1406.jpg
  • John Furnival, (b. 1933) <br />
Blind Date, 1979, text by Thomas Meyer<br />
10 etchings with embossing<br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.6<br />
<br />
<br />
Furnival is best known for his pen drawings, with subjects ranging from subtle landscapes to fantastical creatures.  By the early 1980s, Furnival’s work became increasingly geometric, with a proclivity for elaborate mazes and winding borders.  Blind-embossing surrounds each unbound page of Blind Date, which illustrates the legend of Theseus and the Minotaur, and Hercules and Omphale.  Many of the images show mythical characters in relaxed postures, offering simpler insight into their narratives than how they are typically portrayed.
    IMG_1407.jpg
  • John Furnival, (b. 1933) <br />
Blind Date, 1979, text by Thomas Meyer<br />
10 etchings with embossing<br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.6<br />
<br />
<br />
Furnival is best known for his pen drawings, with subjects ranging from subtle landscapes to fantastical creatures.  By the early 1980s, Furnival’s work became increasingly geometric, with a proclivity for elaborate mazes and winding borders.  Blind-embossing surrounds each unbound page of Blind Date, which illustrates the legend of Theseus and the Minotaur, and Hercules and Omphale.  Many of the images show mythical characters in relaxed postures, offering simpler insight into their narratives than how they are typically portrayed.
    IMG_1408.jpg
  • John Furnival, (b. 1933) <br />
Blind Date, 1979, text by Thomas Meyer<br />
10 etchings with embossing<br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.6<br />
<br />
<br />
Furnival is best known for his pen drawings, with subjects ranging from subtle landscapes to fantastical creatures.  By the early 1980s, Furnival’s work became increasingly geometric, with a proclivity for elaborate mazes and winding borders.  Blind-embossing surrounds each unbound page of Blind Date, which illustrates the legend of Theseus and the Minotaur, and Hercules and Omphale.  Many of the images show mythical characters in relaxed postures, offering simpler insight into their narratives than how they are typically portrayed.
    IMG_1409.jpg
  • IMG_1410.jpg
  • Les Levine, (b. 1935, Dublin, Ireland) <br />
Culture Hero, 1965 <br />
Colored lithograph <br />
Gift of Mr. Stan Babbit, 1989.12.11 <br />
<br />
<br />
Levine’s multi-colored and neon lithographs for Culture Hero magazine, strove to capture exclusive images and interviews with contemporary celebrities in a way as mythical as the figures themselves.  Culture Hero provided rare correspondence between the world’s superstars; its content was often light-hearted, erotic, or secretive.  Levine portrays these moments through innovative printmaking techniques, voluminous fonts, and blended neon inks that seem to glow on the pages.
    IMG_1411.jpg
  • Les Levine, (b. 1935, Dublin, Ireland) <br />
Culture Hero, 1965 <br />
Colored lithograph <br />
Gift of Mr. Stan Babbit, 1989.12.11 <br />
<br />
<br />
Levine’s multi-colored and neon lithographs for Culture Hero magazine, strove to capture exclusive images and interviews with contemporary celebrities in a way as mythical as the figures themselves.  Culture Hero provided rare correspondence between the world’s superstars; its content was often light-hearted, erotic, or secretive.  Levine portrays these moments through innovative printmaking techniques, voluminous fonts, and blended neon inks that seem to glow on the pages.
    IMG_1412.jpg
  • Les Levine, (b. 1935, Dublin, Ireland) <br />
Culture Hero, 1965 <br />
Colored lithograph <br />
Gift of Mr. Stan Babbit, 1989.12.11 <br />
<br />
<br />
Levine’s multi-colored and neon lithographs for Culture Hero magazine, strove to capture exclusive images and interviews with contemporary celebrities in a way as mythical as the figures themselves.  Culture Hero provided rare correspondence between the world’s superstars; its content was often light-hearted, erotic, or secretive.  Levine portrays these moments through innovative printmaking techniques, voluminous fonts, and blended neon inks that seem to glow on the pages.
    IMG_1413.jpg
  • Ronald King, (b. 1932, Sao Paolo, Brazil) <br />
Anthony and Cleopatra, 1979, text by William Shakespeare <br />
Edition of 340 <br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.8 <br />
<br />
<br />
In the late 1970s, Circle Press Studio was commissioned to print another Shakespeare production.  King chose Anthony and Cleopatra, describing it as “like a film” given the back and forth scene changes from Egypt to Rome.  He selected bright colors, such as blood red, to indicate sudden shifts in mood and to predict the devastating end to the story.  Cut-out kites represent the characters as they are drawn through the turbulent and tragic plot.  King was never fully satisfied with Anthony and Cleopatra, and he sometimes cited it as the reason other creative projects were left unfinished.
    IMG_1414.jpg
  • Ronald King, (b. 1932, Sao Paolo, Brazil) <br />
Anthony and Cleopatra, 1979, text by William Shakespeare <br />
Edition of 340 <br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.8 <br />
<br />
<br />
In the late 1970s, Circle Press Studio was commissioned to print another Shakespeare production.  King chose Anthony and Cleopatra, describing it as “like a film” given the back and forth scene changes from Egypt to Rome.  He selected bright colors, such as blood red, to indicate sudden shifts in mood and to predict the devastating end to the story.  Cut-out kites represent the characters as they are drawn through the turbulent and tragic plot.  King was never fully satisfied with Anthony and Cleopatra, and he sometimes cited it as the reason other creative projects were left unfinished.
    IMG_1415.jpg
  • Ronald King, (b. 1932, Sao Paolo, Brazil) <br />
Anthony and Cleopatra, 1979, text by William Shakespeare <br />
Edition of 340 <br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.8 <br />
<br />
<br />
In the late 1970s, Circle Press Studio was commissioned to print another Shakespeare production.  King chose Anthony and Cleopatra, describing it as “like a film” given the back and forth scene changes from Egypt to Rome.  He selected bright colors, such as blood red, to indicate sudden shifts in mood and to predict the devastating end to the story.  Cut-out kites represent the characters as they are drawn through the turbulent and tragic plot.  King was never fully satisfied with Anthony and Cleopatra, and he sometimes cited it as the reason other creative projects were left unfinished.
    IMG_1416.jpg
  • Ronald King, (b. 1932, Sao Paolo, Brazil) <br />
Anthony and Cleopatra, 1979, text by William Shakespeare <br />
Edition of 340 <br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.8 <br />
<br />
<br />
In the late 1970s, Circle Press Studio was commissioned to print another Shakespeare production.  King chose Anthony and Cleopatra, describing it as “like a film” given the back and forth scene changes from Egypt to Rome.  He selected bright colors, such as blood red, to indicate sudden shifts in mood and to predict the devastating end to the story.  Cut-out kites represent the characters as they are drawn through the turbulent and tragic plot.  King was never fully satisfied with Anthony and Cleopatra, and he sometimes cited it as the reason other creative projects were left unfinished.
    IMG_1417.jpg
  • Ronald King, (b. 1932, Sao Paolo, Brazil) <br />
Anthony and Cleopatra, 1979, text by William Shakespeare <br />
Edition of 340 <br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.8 <br />
<br />
<br />
In the late 1970s, Circle Press Studio was commissioned to print another Shakespeare production.  King chose Anthony and Cleopatra, describing it as “like a film” given the back and forth scene changes from Egypt to Rome.  He selected bright colors, such as blood red, to indicate sudden shifts in mood and to predict the devastating end to the story.  Cut-out kites represent the characters as they are drawn through the turbulent and tragic plot.  King was never fully satisfied with Anthony and Cleopatra, and he sometimes cited it as the reason other creative projects were left unfinished.
    IMG_1418.jpg
  • John Furnival, (b. 1933) <br />
Blind Date, 1979, text by Thomas Meyer<br />
10 etchings with embossing<br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.6<br />
<br />
<br />
Furnival is best known for his pen drawings, with subjects ranging from subtle landscapes to fantastical creatures.  By the early 1980s, Furnival’s work became increasingly geometric, with a proclivity for elaborate mazes and winding borders.  Blind-embossing surrounds each unbound page of Blind Date, which illustrates the legend of Theseus and the Minotaur, and Hercules and Omphale.  Many of the images show mythical characters in relaxed postures, offering simpler insight into their narratives than how they are typically portrayed.
    IMG_1474.jpg
  • John Furnival, (b. 1933) <br />
Blind Date, 1979, text by Thomas Meyer<br />
10 etchings with embossing<br />
Circle Press Studio<br />
Gift of Mr. Stan Babbit, 1989.12.6<br />
<br />
<br />
Furnival is best known for his pen drawings, with subjects ranging from subtle landscapes to fantastical creatures.  By the early 1980s, Furnival’s work became increasingly geometric, with a proclivity for elaborate mazes and winding borders.  Blind-embossing surrounds each unbound page of Blind Date, which illustrates the legend of Theseus and the Minotaur, and Hercules and Omphale.  Many of the images show mythical characters in relaxed postures, offering simpler insight into their narratives than how they are typically portrayed.
    IMG_1475.jpg
  • John Christie (b. 1945, England)  <br />
Red Bird, 1979, text by Christopher Logue inspired by Pablo Neruda  <br />
10 colored screenprints  <br />
Circle Press Studio <br />
Gift of Mr. Stan Babbit, 1989.12.9<br />
<br />
<br />
<br />
With artwork in the Tate Gallery, the Yale Center for British Art, and numerous rare books collections throughout the world, Christie’s illustrations are some of the most sought after among modern printmakers.  In Red Bird, he layers provoking magazine cut-outs with his own illustrations and pastel details.  These images hold true to Christie’s inclination for story-telling, where the combination of color, pattern, and image may stand alone or alongside the text.
    IMG_1506.jpg
  • John Christie (b. 1945, England)  <br />
Red Bird, 1979, text by Christopher Logue inspired by Pablo Neruda  <br />
10 colored screenprints  <br />
Circle Press Studio <br />
Gift of Mr. Stan Babbit, 1989.12.9<br />
<br />
<br />
<br />
With artwork in the Tate Gallery, the Yale Center for British Art, and numerous rare books collections throughout the world, Christie’s illustrations are some of the most sought after among modern printmakers.  In Red Bird, he layers provoking magazine cut-outs with his own illustrations and pastel details.  These images hold true to Christie’s inclination for story-telling, where the combination of color, pattern, and image may stand alone or alongside the text.
    IMG_1507.jpg
  • John Christie (b. 1945, England)  <br />
Red Bird, 1979, text by Christopher Logue inspired by Pablo Neruda  <br />
10 colored screenprints  <br />
Circle Press Studio <br />
Gift of Mr. Stan Babbit, 1989.12.9<br />
<br />
<br />
<br />
With artwork in the Tate Gallery, the Yale Center for British Art, and numerous rare books collections throughout the world, Christie’s illustrations are some of the most sought after among modern printmakers.  In Red Bird, he layers provoking magazine cut-outs with his own illustrations and pastel details.  These images hold true to Christie’s inclination for story-telling, where the combination of color, pattern, and image may stand alone or alongside the text.
    IMG_1508.jpg
  • John Christie (b. 1945, England)  <br />
Red Bird, 1979, text by Christopher Logue inspired by Pablo Neruda  <br />
10 colored screenprints  <br />
Circle Press Studio <br />
Gift of Mr. Stan Babbit, 1989.12.9<br />
<br />
<br />
<br />
With artwork in the Tate Gallery, the Yale Center for British Art, and numerous rare books collections throughout the world, Christie’s illustrations are some of the most sought after among modern printmakers.  In Red Bird, he layers provoking magazine cut-outs with his own illustrations and pastel details.  These images hold true to Christie’s inclination for story-telling, where the combination of color, pattern, and image may stand alone or alongside the text.
    IMG_1509.jpg
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