An extraordinary outburst of creative activity occurred among American printmakers between the years 1960 and 1990. New workshops sprang up, like Universal Limited Art Editions on Long Island and the Tamarind Lithography Workshop in Los Angeles, as well as small presses throughout the country. In contrast to traditional European studios, where professional printers reproduced artists' designs, the new American workshops emphasized collaboration between printer and artist, and radical experimentation with mediums and processes. This book shows how the new presses attracted an influx of talented people to printmaking during those years. Frank Stella, Robert Rauschenberg, Red Grooms, Jennifer Bartlett and Robert Longo are just a few of the artists whose work is illustrated here. Due to their achievement and that of other artists, printmaking became recognized as a major art form, and the climate of experimentation fostered by these workshops became a driving force in the contemporary art world. The book is published to coincide with an exhibition which opened at the Zimmerli Art Gallery, New Jersey in April 1995, and is travelling around the United States.
Book Description
Editorial Reviews
From Library Journal
Curators Hansen, Joann Moser, David Mickenberg, and Barry Walker chronicle the growth of American printmaking from early utilitarian works through the establishment of printmaking as a fine art. The work describes developments in technique but more importantly addresses the complex, cooperative process that was born in innovative printshops such as the Tamarind Lithography Workshop in Los Angeles. Mickenberg's chapter on nonprofit and university-affiliated workshops provides refreshing insight into how the financial support of large foundations helped found the nonprofit printshops. Not only did such workshops pool the talents of printmakers, but they helped create new markets for what had previously been considered a dying art. The authors also attribute the rebirth of printmaking in the United States to several women and minority artists and printers; however, the most recognized prints, created by the likes of Andy Warhol and Roy Lichtenstein, have not been overlooked. The large, full-color plates have been grouped at the back of the book and therefore can easily be viewed apart from the text. As a complement to the many printmaking technique books available (e.g., The Encyclopedia of Printmaking Techniques, LJ 10/15/93), this work is highly recommended for all fine arts collections.?Julie C. Boehning, "Library Journal"
Copyright 1995 Reed Business Information, Inc.
Copyright 1995 Reed Business Information, Inc.
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