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The list includes titles and is growing with titles a year, in the fields of book history, history of cartography and neighboring fields. Brill also has the exclusive global distribution rights for the highly prestigious Atlas Blaeu-Van der Hem. Hotei Publishing specializes in books relating to Japan and is an imprint of Brill since May Established in Leiden in the s, Hotei publishes exhibition catalogues, lavishly illustrated books on Japanese print artists and painters, and a variety of other manifestations of Japanese art and culture.
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Traces, Marks and Imprints of Time in The Rainbow and Women in Love
No other parties may use these trademarks in any way. With these new works, Ferris continues to explore painting as a personal index and the literal relationship between the artist and his or her work. Ferris highlights the physicality of the process, subtly shifting the position of her body to create impressions that range in tone from static to fluid, defensive to aggressive, and masculine to feminine.
Similar to her atmospheric layered paintings, the body prints also display a powerful perceptual depth. The imprints float in hazy compositions that suggest the shadow or memory of the artist, literally and figuratively. As no two prints are exactly the same, each work represents a multitude of forms.
Shadows of the Apt
The artist calls into question the notion of seriality and the existence of a true carbon copy. In the past few years, there has been an uptick in an expanded form of painting that presents itself as a hybrid. A few current examples of this tendency include the work of Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson — artists who have explored multi-media paintings that rival sculpture.
These works feel constructed as opposed to made, and engage with several forms of tactility, illusion, and physical depth.
In these works she literally covers herself in oil and pigment and lies on top of a human-sized sheet of paper. While the layered pigment renders every crease and crevice of clothing and flesh, the colors also work to create vibrating relationships that define the mood of the figure they make. Covering herself in oil and pressing her frame onto paper that she paints in beaming hues, Ferris triumphs over the surface and the very patriarchal ideology of her medium.
The denim pants and shirts she dons in each print lend a distinct shape, challenging typical likenesses of the female nude. On view are more of the artist's ongoing series of body prints, for which she covers herself in oil paint before pressing against a canvas on the floor. For this grouping of works, started in , the artist made prints from her body.
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