Group show

State of the art: reproductive prints from the Renaissance to now

curated by David Maskill with his Honours Students

11 October – 20 December 2013

Installation view of State of the art: reproductive prints from the Renaissance to now at the Adam Art Gallery. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Installation view of State of the art at the Adam Art Gallery, showing John Webber (1751-1793), View in Queen Charlotte’s Sound, New Zealand, ca. 1820. Hand-coloured etching and aquatint from Views in the South Seas / from drawings by James [i.e. John] Webber, London: Boydell, 1808 [i.e. ca. 1820], 292 x 414mm. Wellington: Victoria University of Wellington Library. Photo: Shaun Waugh

John Webber (1751-1793), View in Queen Charlotte’s Sound, New Zealand, ca. 1820. Hand-coloured etching and aquatint from Views in the South Seas / from drawings by James [i.e. John] Webber, London: Boydell, 1808 [i.e. ca. 1820], 292 x 414mm. Wellington: Victoria University of Wellington Library. Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Giorgio Ghisi (1520-1582) after Michelangelo (1475-1564), The Last Judgement, fifth state, after 1650 (original date of publication mid-1540s), engraving, 1223 x 1072mm. Private collection.

Giorgio Ghisi (1520-1582) after Michelangelo (1475-1564), The Last Judgement, fifth state, after 1650 (original date of publication mid-1540s), engraving, 1223 x 1072mm. Private collection

Installation view of State of the art: reproductive prints from the Renaissance to now at the Adam Art Gallery. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Installation view of State of the art at the Adam Art Gallery, showing three chromolithographs after Italian Renaissance paintings published by The Arundel Society, London, 1890s. Wellington: Alexander Turnbull Library, National Library of New Zealand Te Puna Mātauranga o Aotearoa. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Installation view of State of the art: reproductive prints from the Renaissance to now at the Adam Art Gallery. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Nicolas de Larmessin (1684-1755) after Raphael (1483-1520), Vision of Ezekiel, engraving and etching, 440 x 309mm. From Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France…, Paris: Imprimerie royale, 2 vols, 1729-1742, vol. 1, plate 28. Wellington: Victoria University of Wellington Library.

Nicolas de Larmessin (1684-1755) after Raphael (1483-1520), Vision of Ezekiel, engraving and etching, 440 x 309mm. From Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France…, Paris: Imprimerie royale, 2 vols, 1729-1742, vol. 1, plate 28. Wellington: Victoria University of Wellington Library

Installation view of State of the art: reproductive prints from the Renaissance to now at the Adam Art Gallery. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Installation view of State of the art at the Adam Art Gallery, showing Bernard Baron (1696–1762), Simon François Ravenet (1706–1774) and Gérard Jean Baptiste II Scotin (1698–1755) with William Hogarth (1697–1764), Marriage A-la-Mode, 1790 (original publication date 1 April 1745). Six prints, engraving and etching, each approx. 385 x 465mm. Private collection. Photo: Shaun Waugh.

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Installation view of State of the art: reproductive prints from the Renaissance to now at the Adam Art Gallery. Photo: Shaun Waugh

Installation view, State of the art: reproductive prints from the Renaissance to now, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, 2013. Photo: Shaun Waugh

Detail of Jake (b. 1966) and Dinos (b. 1962) Chapman, Insult to Injury wallpaper, 2009, digital print on wallpaper, 10000 x 520mm. Courtesy White Cube, London, © Jake and Dinos Chapman.

Detail of Jake (b. 1966) and Dinos (b. 1962) Chapman, Insult to Injury wallpaper, 2009, digital print on wallpaper, 10000 x 520mm. Courtesy White Cube, London, © Jake and Dinos Chapman