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Harland Miller

HAPPINESS: THE CASE AGAINST (Manifold Editions 2017) is part of a new body of work first seen in Harland Miller's solo Berlin exhibition in 2016, Tonight We Make History (P.S. I Can’t Be There) at Blain Southern. Miller is well known for his playful reinterpretations of Penguin book covers, but for the Berlin exhibition he incorporated his own designs, taking inspiration from the abstract, geometric covers of popular psychology books of the 60’s and 70’s. HAPPINESS: THE CASE AGAINST is inspired by an original work of the same name. For this publication, Miller experimented with different printmaking techniques using polymer-gravure, photo-etching and block printing to build up a painterly, and layered surface texture. 


Technique
Polymer-gravure with photo-etching and woodcut, printed on Hahnemuhle Bright White 350gsm

Harland Miller
Harland Miller (born 1964, Yorkshire) is an artist and writer. He studied at Chelsea School of Art, graduating in 1988, since when his work has included paintings, sculptures, and mixed-media pieces with influences as disparate as Edgar Allen Poe, Ernest Hemingway, Ed Ruscha, Mark Rothko, Anselm Kiefer, and Robert Rauschenberg. Miller is probably best known for his large-scale paintings of imaginary Penguin book covers. The invented titles offer a mordant take on contemporary life, and include 'Whitby: The Self-Catering Years'; 'York, So Good They Named It Once' and 'Incurable Romantic Seeks Dirty Filthy Whore'. Miller’s solo exhibitions include those held at the Marianne Boesky Gallery in New York (2005), White Cube in Hoxton Square, London (2012), and Blain Southern in Berlin (2016), with a recent solo show, 'One Bar Electric Memoir', at White Cube (Mason's Yard), London, 2017.

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HAPPINESS : THE CASE AGAINST

Happiness The Case Against : Large

HAPPINESS : THE CASE AGAINST

Polymer-gravure with photo-etching and woodcut
Polymer-gravure: An image on acetate paper, Mylar True-grain, is transferred on to a polymer-gravure-plate through a light sensitive process. Photo-etching: An intaglio process in which the etching plate is coated with a light-sensitive acid-resistant ground and exposed, through a dot screen, to a photographic image. A ‘negative’ resist dissolves in the areas that are exposed to light, while hardening in areas not exposed to it. Woodcut: The woodcut is achieved by covering the side-grain wooden block surface with ink by rolling over the surface with an ink-covered roller (brayer). The impression is printed by placing the paper directly on the woodblock and then applying pressure either by hand or through a press.
Polymer-gravure with photo-etching and woodcut
Edition of 50
Signed on the front, numbered on the reverse

POA

Sheet size
98.5 x 72.5cm
38 3/4 x 28 1/2 inches

Image size
N/A
N/A


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HAPPINESS : THE CASE AGAINST
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Details

HAPPINESS: THE CASE AGAINST (Manifold Editions 2017) is part of a new body of work first seen in Harland Miller's solo Berlin exhibition in 2016, Tonight We Make History (P.S. I Can’t Be There) at Blain Southern. Miller is well known for his playful reinterpretations of Penguin book covers, but for the Berlin exhibition he incorporated his own designs, taking inspiration from the abstract, geometric covers of popular psychology books of the 60’s and 70’s. HAPPINESS: THE CASE AGAINST is inspired by an original work of the same name. For this publication, Miller experimented with different printmaking techniques using polymer-gravure, photo-etching and block printing to build up a painterly, and layered surface texture. 

Additional Information

First Name Harland
Last Name Miller
Artist Description Harland Miller (born 1964, Yorkshire) is an artist and writer. He studied at Chelsea School of Art, graduating in 1988, since when his work has included paintings, sculptures, and mixed-media pieces with influences as disparate as Edgar Allen Poe, Ernest Hemingway, Ed Ruscha, Mark Rothko, Anselm Kiefer, and Robert Rauschenberg. Miller is probably best known for his large-scale paintings of imaginary Penguin book covers. The invented titles offer a mordant take on contemporary life, and include 'Whitby: The Self-Catering Years'; 'York, So Good They Named It Once' and 'Incurable Romantic Seeks Dirty Filthy Whore'. Miller’s solo exhibitions include those held at the Marianne Boesky Gallery in New York (2005), White Cube in Hoxton Square, London (2012), and Blain Southern in Berlin (2016), with a recent solo show, 'One Bar Electric Memoir', at White Cube (Mason's Yard), London, 2017.
Edition of 50
Ed Date 2017
Inscriptions Signed on the front, numbered on the reverse
Short Technique Polymer-gravure with photo-etching and woodcut
Sheet Size 98.5 x 72.5cm
Sheet Size (Inches) 38 3/4 x 28 1/2 inches
Image Size N/A
Image Size (inches) N/A
Technical Description Polymer-gravure with photo-etching and woodcut, printed on Hahnemuhle Bright White 350gsm
Technique Pop ups Polymer-gravure: An image on acetate paper, Mylar True-grain, is transferred on to a polymer-gravure-plate through a light sensitive process. Photo-etching: An intaglio process in which the etching plate is coated with a light-sensitive acid-resistant ground and exposed, through a dot screen, to a photographic image. A ‘negative’ resist dissolves in the areas that are exposed to light, while hardening in areas not exposed to it. Woodcut: The woodcut is achieved by covering the side-grain wooden block surface with ink by rolling over the surface with an ink-covered roller (brayer). The impression is printed by placing the paper directly on the woodblock and then applying pressure either by hand or through a press.
Price on Application Yes
Display Custom Popup No
Custom pop up link Title No
Custom Popup Title No
Custom Pop up Description No

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