Print Making Techniques: Past and Present
September 26 – November 11, 1972
Josef Albers | Vera Berdich | John Bewick | Thomas Bewick | Louis Marin Bonnet | Ludolph Buesinck | John Clem Clarke | P. Daur | Ron Davis | Albrecht Durer | Francesco Goya | Richard Hamilton | Stanley William Hayter | William Hogarth | Jasper Johns | Vasily Kandinsky | Auguste Louis A. Lepere | Roy Lichtenstein | Alice Mason | Jean Baptiste Nattier | Claes Oldenberg | Eduardo Paolozzi | M. Papillon | Phillip Pearlstein | Pablo Picasso | Robert Rauschenberg | Rembrandt | Georges Rouault | J. Saude | Carl Schwartz | Henri de Tolouse-Lautrec | Jacques Villon | Andy Warhol | James Abbott McNeill Whistler | Jan Wierix
Today the print has become one of the most popular objects of collecting in the area of the fine arts. Yet the complex range of techniques used by the contemporary printmaker as well as older methods are not understood by the the interested viewer or by many who possess examples. Debate over questions of originality and quality have recently led to legislation regarding the sale of prints.
Print Making Techniques, Past and Present attempts to define the major past methods and a wide range of contemporary innovations with examples by major artists. Works by Durer, Rembrandt, Hogarth, Whistler, Toulouse-Lautrec, Picasso, Hayter, Johns, Oldenburg, John Clem Clarke, and many others will be accompanied by explantory labels in which the method of execution is detailed. In many cases, the wood block, plate, or stone used to execute a print willl accompany the impression on view. Tools used in working plates, blocks , stones, etc. will be displayed with the corresponding print.
In addition, comparisons will be made. Various states of one print reveal the artist's changes. An original impression and a restrike will be compared. Signed and unsigned versions of the same print will be shown.
While this exhibition cannot cover all methods and possibilities, it will define the major methods. It will suggest, with concrete examples and comparisons, the possibilities, complexities, and occasional pitfalls in looking at prints.
This text was originally published in the exhibition's press release. There is no photographic documentation of this exhibition.