Bøger af Hugh Merrill

Journey through a lifetime in the work of printmaker Hugh Merrill, in his words...My work and approaches to make art have significantly changed, and yet in many ways, they have remained the same. In the past 30 years, I have worked as a community artist, producing complex arts actions both locally and internationally. I have also continued my studio work, including working on sequential etchings each year. The two seemingly separate modes of creativity, studio art and socially engaged art, feed and provide freedom and validity for each other. These consistent and varied interests in my life as an artist have always led me to return to that "first" etching. The advice provided by teachers and other artists, and the process I have developed over this time still seems new, deeply valid and refreshes my imagination and desire to engage in a continuing dialogue of creative discovery.Each new generation defines the values of a discipline. When I started my work in 1968, there were two main currents in contemporary art, pop art and abstract expressionism. These two movements strongly influenced the direction a generation of print artists was taking. Always tilting the present conceptual views were artists such as: Peter Milton, Warrington Colescott, Lynne Allen, Ruth Weisberg and June Wayne. All of these people approached print from the depths of their own unique studio narrative. Today we hear of the Outlaws of printmaking: Tom Huck, Bill Fick, Sean Starwars, Michael Krueger, Jenny Schmid and other rambunctious print artists. To a great degree, printmakers have always followed a different drummer, filling the role of outlaws and expressing their own eccentric visions. Where will that vision go next? What new artist and discoveries will grow out of this magic discipline?

This book is a survey of the studio and community work of Hugh Merrill from 1968 to 2011. Merrill's mantra is "I draw everyday," and he balances his role as an activist to work with amazing consistency in the privacy of his studio.

Noted printmaker, activist and educator Hugh Merrill presents this volume on theories and activities for teaching Foundation at a university level in the arts. The journal presents assignments, discussions, directives, grading rubrics, and correlations to the greater art world and is accessible to both students and teachers. Full color photographs of students in studio, student work and more are included.

Hugh Merrill, internationally renowned printmaker and forerunner in the social practice art movement, writes this memoir focused on his formative years where he grew up in a high-profile, politically connected, wealthy white family in the deep Jim Crow South.

Hugh Merrill, internationally renowned printmaker and forerunner in the social practice art movement, writes and illustrates in full-color this memoir focused on his formative years where he grew up in a high-profile, politically connected, wealthy white family in the deep Jim Crow South.

Hugh Merrill explores his family connection to the Jim Crow south and connection to the legal lynching of Edgar Caldwell. Vivid illustrations accompanied with text make this an important social zine.

Dog Alley is a hybrid, full-color book of poems and paintings by the renowned artist Hugh Merrill. The poems are an intimate look at memory, aging, loss, privilege and sexuality all wrapped up in the potent and visceral language of emotion that only Merrill can achieve.

Hugh Merrill, the printmaker, has a dirty little secret: for many years, he has been covertly writing ... poetry. His debut book of poems, Nomadic? Rover by Days Singing These Gang Plank Songs of the Ambler, reflects the intense and unguarded energy of a vital artist and natural storyteller who has deep connections to both historic and current movements. His subject matter ranges from childhood memories of racial inequality to contemporary ideas of gender fluidity, and his absurd ditties tickle the what the fuck bone in all of us. Littered amongst the poems are moments of prose and snippets of email exchanges between Merrill and his editor. But perhaps the most dynamic aspect of this book is the inclusion of Merrill's original drawings and handwritten notes, which occupy the space around the poems: visual expansions from the poet's haptic nonce of a squirrelly soul.