Book contents
- Front matter
- Frontispiece
- Contents
- List of figures
- Notes on contributors
- Acknowledgements
- A note on sources and copyright materials
- Introduction
- Part IGenealogy
- Part IIDebates
- Part IIIKeywords
- Introduction to Part III
- Coordinates of a history of the technical image
- The status of the reproduction
- Benjamin's blindspot: Aura and reproduction in the post-print age
- Are all multiples the same?: The problematic nature of the limited edition
- Printing plates and pixel matrix: The mechanisation of memory
- Opening up an anachronistic point of view (1997)
- Untying the knot: Memory and forgetting in contemporary print work
- Spirit duplication
- Three ways to use yellow
- On the manual (in the manual)
- Animal print suicide
- Further reading
- Part IVThe field
- Index
Three ways to use yellow
from Part III - Keywords
Published online by Cambridge University Press: 29 August 2026
Edited by
Book contents
- Front matter
- Frontispiece
- Contents
- List of figures
- Notes on contributors
- Acknowledgements
- A note on sources and copyright materials
- Introduction
- Part IGenealogy
- Part IIDebates
- Part IIIKeywords
- Introduction to Part III
- Coordinates of a history of the technical image
- The status of the reproduction
- Benjamin's blindspot: Aura and reproduction in the post-print age
- Are all multiples the same?: The problematic nature of the limited edition
- Printing plates and pixel matrix: The mechanisation of memory
- Opening up an anachronistic point of view (1997)
- Untying the knot: Memory and forgetting in contemporary print work
- Spirit duplication
- Three ways to use yellow
- On the manual (in the manual)
- Animal print suicide
- Further reading
- Part IVThe field
- Index
Summary
Catherine Brooks’ text is an excerpt from the aforementioned Manual. Her short autobiographical account meditates on the close – and often surprising – interconnections between human and material, culinary and artistic relationships in the context of her work at Crown Point Press in San Francisco and Atelier René Tazé in Paris. True to the title, the colour yellow is the binding agent in the tale.
Information
- Type
- Chapter
- Information
- Perspectives on contemporary printmakingCritical writing since 1986, pp. 211 - 214Publisher: Manchester University PressFirst published in: 2026
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