The Albuquerque studio Risolana wants to “cultivate an artmaking space as accessible as the risograph itself.”
Printmaking, especially screen printing, has been a key tool for Chicanos to communicate who they are and what they care about since the 1960s.
When prints are exhibited, the printer is generally not credited as co-creator of the work and often the print publisher or workshop is not named.
A small lithography school in the Chilean island is yielding marvelously intricate works, but needs support to restock dwindling supplies.
An exhibition at the National Gallery of Art will trace the technique’s development through Europe, starting in the late 1700s.
“Manhattan is my easel,” said Austin Thomas.
Ruth Asawa, Anni Albers, and others first experimented with printmaking at June Wayne’s Tamarind Lithography Workshop.
The three-day event includes tips on how to photograph your art, workshops on stencil-making, and much more.
“If you’re going to do art history,” Steinberg declared, “you’d better know what your artists were looking at. And that has to include prints.”
A new book examines the collective Atelier 17, whose members redefined beliefs about gender identity and artistic achievement in the 1940s and ’50s.
Takuji Hamanaka’s works seem to have been made by a mason who lives in a heightened state of consciousness.
Sarah Amos’s work may be labor-intensive, yet it conveys neither labor nor the consumption of time, but a meditative joy.