Harvard Art Museums > 2009.97: Hook Prints Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Hook (Liliana Porter) , 2009.97,” Harvard Art Museums collections online, Dec 18, 2024, https://hvrd.art/o/333332. This object does not yet have a description. Identification and Creation Object Number 2009.97 People Liliana Porter, Argentinian (Buenos Aires, Argentina born 1941) Title Hook Classification Prints Work Type print Date 1972 Culture Argentinian Persistent Link https://hvrd.art/o/333332 Physical Descriptions Medium Screen print on off-white folded wove paper and string Technique Screen print Dimensions sheet: 76.2 × 35.6 cm (30 × 14 in.) Inscriptions and Marks inscription: l.r. in pencil: Liliana Porter 72 inscription: l.m in pencil: ap Provenance Recorded Ownership History Liliana Porter sold through [Hosfelt Gallery]; Harvard Art Museum State, Edition, Standard Reference Number Edition Artist Proof Acquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Margaret Fisher Fund Copyright © Liliana Porter Accession Year 2009 Object Number 2009.97 Division Modern and Contemporary Art Contact am_moderncontemporary@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Descriptions Commentary First, as part of the printmaking group New York Graphic Workshop, and then on her own, Porter has been one of the most influential artists of her generation to emerge from Latin America. These prints, both done in 1972, are reminiscent of her work and ideas during her time in the New York Graphic Workshop that disbanded only 2 years prior. Her interest was, and still is, in the relationship between the reality of an object and its representation. Her art is about invention of perception and her belief that all that is real in the viewer's relation to the object. At the time she believed that photography was the most objective medium, and used it for the foundation of her screen prints as can be seen in Hook. Although she worked to alter the definition of printmaking from the contact of the plate with paper to the act of making an edition, the objective was always about the art. The technique, in the end, was the tool that produced the idea. Exhibition History A Female Landscape and the Abstract Gesture, Radcliffe Institute Johnson-Kulukundis Family Gallery, 02/05/2024 - 06/22/2024 Verification Level This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu
