DAC Publications

The Davison Art Center publishes catalogs related to the art collection and exhibitions.

In addition to the featured catalogs below, a complete backlist lists all DAC publications still in print.

  • Oral Fixations: Drawings by Julia Randall

    Published in connection with a 2014 exhibition, this catalog features an essay by Barbara Pollack and a fully illustrated checklist of all drawings in the exhibition, as well as several additional works (2014; 48 pp.; 81 color ill.).
  • Counting on Chance: 25 Years of Artists' Books by Robin Price, Publisher

    Published in connection with a 2010 exhibition, this large-format publication features an essay by independent book-art historian Betty Bright, an interview with Robin Price by Suzy Taraba, and a complete list by Rutherford W. Witthus of Price's works from 1984 into early 2010 (2010; 144 pp.; 140 color ill.; 49 monochrome ill.; paper covers with a random selection of different designs). This catalog may be ordered directly from the artist.
  • Keiji Shinohara: Color Harmony

    Published in connection with a 2007 exhibition, this catalog explores how artist and master woodblock printer Keiji Shinohara combines traditional Japanese woodcut techniques with new materials and ideas. It features an essay by DAC Curator Clare I. Rogan and a complete list of the artist's original woodcuts, monotypes, and monoprints from 1995 through July 2007. Supported in part by the Middletown Commission on the Arts. (2007; 48 pp.; 69 color ill.).
  • Philip Trager: Faces

    One large (13" x 11") clothbound volume with dust jacket. (2005; 124 pp.; 48 ill.). Published by Steidl Publishing with the Allen Memorial Art Museum at Oberlin College and the Davison Art Center. (Book distributors and resellers may contact Steidl Publishing.)
  • Jim Dine: The Photographs, so far

    Catalog by Stephanie Wiles; essays by Andy Grundberg, Marco Livingstone, and Stephanie Wiles, with an interview by Jean-Luc Monterosso. Four clothbound volumes (Heliogravures; Digital Prints; Polaroids, Chromogenics and Silverprints; and Text) in slipcase. (2003; 846 pp.; 292 duotone, 117 tritone, and 139 color ill.). Published in conjunction with the Maison Européenne de la Photographie and Steidl Verlag.(Book distributors and resellers may contact Steidl Verlag.)
  • Performing Images, Embodying Race: The Orientalized Body in Early 20th-Century U.S. Performance and Visual Culture

    Brochure by Robert Lancefield; published in conjunction with the exhibition of the same title (2003; 6 pp. with an essay, suggested further reading, and 43 small color illustrations, many of them in montage or on covers).
  • Northern Light: Photographs by David Octavius Hill and Robert Adamson from the University of St. Andrews Library

    By Norman Reid, Graham Smith, and Stephanie Wiles, with an introduction by Andrew Szegedy-Maszak. This publication includes three historical essays, a checklist of 61 photographs shown in the related 2003 exhibition, and illustrations of 22 works by Hill & Adamson as well as other photographers (2003; 64 pp.; 22 ill.).
  • Jim Dine's Raven

    By exhibition curator Deborah I. Stutz (B.A. Wesleyan 1996). The exhibition displayed Dine's gift to the DAC of 17 proofs, a monotype, and the pre-edition proof (B.A.T.), as well as the cardboard plate on which the artist worked out changes for his large raven image of 1994 (1995; 20 pp.; 9 ill., 3 duotone).
  • Prodigal Son Narratives 1480-1980

    By Ellen G. D'Oench for an exhibition organized by the Yale University Art Gallery and the Davison Art Center. The exhibition explored the long and varied history of representations of the prodigal son in printed images of the last five hundred years. Used primarily for religious instruction, images of the parable also served as commentary on family relationships; as inspiration for political satire and narratives of pathos and exile; and as artistic autobiography and erotic genre. (1995; 40 pp.; 57 ill.).
  • Chiaroscuro 1500-1800

    By Marcie F. Slepian. For three hundred years, from about 1508 until the end of the eighteenth century, printmakers experimented with chiaroscuro woodcuts in their attempts to simulate original works of art. Relatively few in number, rarely produced by artists working from their own designs, chiaroscuros may still astonish us by their powers of replicating the tonal gradations of wash drawings, watercolors, and gouaches (1993; 48 pp.; 12 ill.).
  • Atget's Churches

    By Andrew Szegedy-Maszak. In 1984 the Davison Art Center was given an album of fifty photographs by Eugène Atget. Entitled "Intérieurs d'Églises" in Atget's hand on the cover, it is a collection of views of ecclesiastical architecture and decoration. The images in the album are valuable for what they reveal about Atget's intentions and methods as a documentary photographer (1992; 64 pp.; 54 ill., 50 duotone).
  • Friends of the Davison Art Center: Acquisitions 1962-1988

    By Ellen G. D'Oench and Richard H. Wood. This catalog offers a complete list of museum acquisitions funded by the Friends of the Davison Art Center during this organization's first 27 years; selected works are illustrated. (1989; 72 pp.; 96 ill.).
  • Chinese Revolutionary Woodcuts from the Picker Art Gallery, 1935-1948

    By Lisa E. Rotondo (B.A. Wesleyan 1982). (1984; 38 pp.; 83 ill.).