THE TAMA. RIND PAPERS A Journal of the Fine Print Volume Thirteen 1990 HIR ETH A A I SU Articles & Reviews by CLINTON ADAMS JOANN MOSER GARO ANTREASIAN NATHAN OLIVEIRA MARK ATTWOOD ELLEN SRAGOW RIVA CASTLEMAN SILVIE TURNER VAN DEREN COKE LINDA TYLER RUTH E. FINE SHARYN UDALL PAT GILMOUR GUSTAVE VON GROSCHWITZ LANIER GRAHAM BARRY WALKER RICHARD HAMILTON JUNE WAYNE EUGENIA PARRY JANIS GABRIEL P. WEISBERG BILL LAGATTUTA RUTH WEISBERG SUSAN LAMBERT BARBARA A. WOLANIN THIRTEEN 1 9 9 0 THE TAMARIND PAPERS EDITOR: Clinton Adams CONTRIBUTING EDITORS: Pat Gilmour Gabriel P. Weisberg ASSISTANT EDITOR: Linda Tyler EDITORIAL BOARD: Philip Dennis Cate Van Deren Coke Richard Field Robert Gardner Jules Heller Sinclair H. Hitchings Eugenia Parry Janis Lynton R. Kistler Peter Morse Joann Moser Gustave von Groschwitz Barry Walker Gabriel P. Weisberg Theodore F. Wolff The Tamarind Papers, an annual journal of the fine print, is published by SINGLE COPY PRICE, United States and Tamarind Institute, 108 Cornell Avenue, S.E. , Albuquerque, New Mexico Canada: $12.00 U.S.; elsewhere $14.00. 87106. Telephone 505:277-3901. Tamarind Institute is a division of the Uni­ SuBSCRIPTIONS, United States and versity of New Mexico. Canada: Two issues, $20.00 U.S.; elsewhere, $25.00 (surface mail). The editor welcomes submission of historical, critical, or technical articles on topics related to the fine print. Historical and critical articles should be limited © Tamarind Institute, 1990 to nineteenth- and twentieth-century subjects; technical articles may deal All rights reserved. with any print medium. Manuscripts and photographs will be returned only Printed in the United States of if accompanied by a stamped, self-addressed envelope. In preparation of America by the University of New manuscripts, authors should adhere closely to the Chicago Manual of Style. Mexico Printing Plant. Tamarind Institute is not responsible for loss of or injury to unsolicited manu­ scripts or photographs. The views expressed in articles and reviews are those of individual writers and not necessarily those of Tamarind Institute or the University of New Mexico. Except as noted in captions, all works illustrated are printed in black; di­ mensions are given in centimeters, height preceding width. ISSN: 0276-3397. THE TAMARIND PAPERS A Journal of the Fzne Print Volume Thirteen 1990 CONTENTS The Tamarind Citation: George C. Mill~ r & Son 4 Changes I Have Seen: Memories and Observations, by Gustave von Groschwitz 6 The Absent 0iscourse: Critical Theories and Printmaking, by Ruth Weisberg 8 Being There, by Clinton Adams 11 Broken Stones and Whooping Cranes: Thoughts of a Wilful Artist, by June Wayne 16 "Originality" Circa 1960: A Time for Thinking Caps, by Pat Gilmour 28 Endangered Species, by Richard Hamilton 34 The Rise of the Livre d'Artiste in America: Reflections on 21 Etchings and Poems and the Early 1960s, by Lanier Graham 35 The Brooklyn Museum's National Print Exhibitions, by Barry Walker 41 Since 1960: Contemporary Prints at the Museum of Modern Art, by Riva Castleman 45 Contemporary Prints at the Victoria & Albert Museum, by Susan Lambert 47 Printmaking Courses in British Art Schools: A Personal View, by Silvie Turner 49 Lithographic Research and the Tamarind Archives, by Garo Antreasian 51 Judith Solodkin and Solo Press, by Ruth E. Fine 54 The Monotype: Printing as Process, by Nathan Oliveira 58 A Living Tradition: Black-and-White Prints in an Age of Color, by Joann Moser 60 Artists' Impression s, by Linda Tyler 64 Big Print, Big Screen: W. Snyder MacNeil, Photography, Video, and the Romantic Tradition of Graphic Variability, by Eugenia Parry Janis 66 Black Printmakers and the WPA: A Symposium, by Ellen Sragow 73 Discovery and Process: Dorziat Reciting by Arthur B. Carles, by Barbara A. Wolanin - 77 A Contrast of Styles: Two Lithographs by Willard Nash, by Van Deren Coke 82 Japonisme Revisited: A Pioneering Exhibition Reexamined, by Gabriel P. Weisberg 85 BooK REVIEWS: R1,1th E. Fine, John Marin , review by Sharyn Udall 90 I Lise Drost, Lab Manual of Aluminum Plate Lithography: A Guide to Planning and Printing Limited Editions, review by Bill Lagattuta 92 I Silvie Turner, A Printmaker' s Handbook, review by Mark Attwood 92 Printers' Impressions: A Tamarind Symposium 5 I MD Litho Stones 5 I Editorship of The Tamarind Papers 15 I American Print Workshops: Addenda and Errata 93 I Photo Credits 94 I Contributors 95 I Directory of Suppliers 96 THE TAMARIND CITATION EVENTY-THREE YEARS AGO, in 1917, George SC. Miller left the American Lithographic Company in New York, where he had worked as a journeyman printer, to establish the first workshop in America to specialize in the printing of artists' lithographs. With the ex­ ception of a few months in 1918, when Miller served in the Navy, the shop's work has been uninterrupted. Long before the "American print renaissance" began in the 1960s, through two world wars and the Great Depression, the firm of George C. Miller & Son-George Miller, his son Burr, and, more recently, Burr's sons Steven and Terry-has continued to pro­ vide printing services to many of America's most noted artists. We pick but a few names from an illustrious list: George Bellows, How­ ard Cook, Arthur B. Davies, Stuart Davis, Adolf Dehn, Lyonel Feininger, Marsden Hartley, Rockwell Kent, Yasuo Kuniyoshi, Louis Lo­ George C. Miller, zowick, Jose Clemente Orozco, Charles Shee­ ca. 1943. ler, Raphael Soyer, Prentiss Taylor, Stow Wengenroth, and Grant Wood. Taylor has given us this description of the Miller shop: "It did not take long to learn that one of the great blessings of the place was that George made no aesthetic judgments. He did not show stylistic prejudices. He gave the neophyte, the hack, and the well known the best printing that could be brought from the zinc plate or the stone. He had justified Burr Miller pride in what he could do .'<~ Since joining his (holding print) with artist father in the workshop in 1948, Burr Miller Adolf Dehn, 1960. has maintained the family tradition. In rec­ ognition of its high and consistent standards, Tamarind Institute has with pleasure awarded The Tamarind Citation for Distinguished Contri­ butions to the Art of the Lithograph to the firm of George C. Miller & Son and to its current director Burr Miller. The Millers are recipient of the fifth Ta­ marind Citation, established in 1985 on the occasion of Tamarind's twenty-fifth anniver­ sary. Other citations have been awarded to Gustave von Groschwitz (1985), Grant Arnold Steven Miller (left) (1986), Lynton R. Kistler (1987), and John and Terry Miller (right) Sommers (i988) . C. A. with artist Robert Kipness, ca. 1984. 1 Prentiss Taylor, quoted in Janet A. Flint, George Miller and American Lithography (Washington: Smithsonian In­ All photographs courtesy Burr Miller. stitution, 1976), n .p. 4 THE TAMARIND PAPERS NEWS AND NOTES PRINTERS' IMPRESSIONS the Arts' reauthorization bill."2 June Wayne A Tamarind Symposium strongly urged all assembled to participate in a grass-roots lobbying effort in support of the AT FIVE-YEAR INTERVALS, beginning in 1975, NEA. Tamarind Institute has presented a national The final day of the symposium was de­ symposium reviewing the state of American voted to three technical sessions: demonstra­ printmaking. "Printers' Impressions," the tions of waterless planography, by Jeffrey Ryan, fourth in this series, was held in June 1990. and of drawing with xerographic toner, by Well-attended by artists, printers, dealers, Nik Semanoff, followed by an open technical teachers, and students from all parts of the discussion led by Tamarind's Education Di­ country, the symposium honored the accom­ rector Jeffrey Sippel and Master Printer Bill plishments of four distinguished printers: Lagattuta. Robert Blackburn, Kathan Brown, Serge Loz­ All in all, those who attended "Printers' ingot, and Ken Tyler. Featured as keynote Impressions" found it to be an enjoyable, speaker was artist James Rosenquist, whose thought-provoking, and thoroughly success­ impressive print, Where the Water Goes (col­ ful event. As the not-so-distant bicentennial ored paper-pulp, lithograph, and collage, 261 of lithography in 1998 may cause the schedule x 147 em [102 3/4 x 58 in], printed at Tyler of future symposia to depart from quinquen­ Graphics, Ltd., 1989), was included in the nial regularity, readers of TTP should be sure symposium exhibition, Printers' Impressions, to keep their names on Tamarind's mailing which opened simultaneously at The Albu­ lists. C. A . querque Museum. 1 Among other speakers were the printers--Bla.ckburn, Brown, Loz­ MD LITHO STONES, Inc. ingot, and Tyler-and Tamarind's former di­ rectors, June Wayne and Clinton Adams (for LITHOGRAPH STONES of superior quality are Adams's remarks, see pages 11-15; for now available from MD Litho Stones, Inc. (see Wayne's, pages 16-27). The printers' pres­ 7TP's Directory of Suppliers, page 96). These entations, which reflected their contrasting fine stones are imported from France, where personalities and accomplishments, together a nineteenth-century quarry near the village provided the symposium's participants with of Montdardier has recently been reopened. a rich and varied view of America's diverse As these quarries were first operated by a collaborative workshops. German firm, J. & W. Arauner & Kammerer, A panel discussion, moderated by 7TP's founded in Solnhofen, it is likely that many contributing editor Pat Gilmour, brought to­ of the stones quarried there in the nineteenth gether Garo Antreasian, Philip Larson, Ro­ century came to be thought of as "Solnhofen senquist, dealer Tom Smith, and Tyler to stones." Certainly, they are of a quality equal consider issues of "Collaboration and the to those quarried in Germany. Contemporary Print." Despite Gilmour's val­ Tamarind Master Printer Timothy Sheesley, iant efforts to keep the discussion on track, it president of MD Stones, describes his visit to wandered far afield, particularly during the the quarry "on top of huge moutains" in question period, when (as is often the case southern France: "After hours of riding up when printmakers get together) some mem­ Continued on page 94.