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The Factory of Visual
ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving. -
Head of a Woman Program Final Digital
HEAD OF A WOMAN Redressing the Parallel Histories of Collaborative Printmaking and the Women’s Movement Presented by Tamarind Institute with support from Frederick Hammersley Foundation Sixty years ago June Wayne, founder of collaborative printmaking over the past sixty years. The rise of Tamarind Lithography Workshop, submitted contemporary printmaking in the 1960s and 1970s runs parallel to the her proposal to the Ford Foundation to burgeoning women’s movement, which no doubt contributed to the establish a model workshop in Los Angeles, steady surge of women printers and printmakers. Head of a Woman brings together an intergenerational roster of artists, printers, scholars, specifically designed to restore the fine and publishers, with the hopes of reflecting on this intertwined history art of lithography. This symposium pays and propelling the industry--and the thinking around prints--forward. tribute to the creative industry that Wayne imagined, and the many remark- Diana Gaston able women who shaped the field of Director, Tamarind Institute 11:00 | THE LONG VIEW: WOMEN IN THE TAMARIND MORNING WORKSHOP AND THEIR CONTINUED IMPACT PRESENTATIONS CHRISTINE ADAMS holds a BFA in printmaking from Arizona State University and received 9:30 | DOORS OPEN her Tamarind Master Printer certificate in May 10:00 | INTRODUCTION 2019. Her printing experience includes positions at the LeRoy Neiman Center for Print Studies at Columbia University and Lower East Side 10:15 | INKED UP: SIXTY YEARS Printshop. Adams is currently a collaborative printer at Universal Limited Art Editions (ULAE) OF COLLABORATIVE WOMEN PRINTMAKERS and a member of the printmaking faculty at Parsons School of Design in New York City. -
Oral History Interview with Rachel Rosenthal
Oral history interview with Rachel Rosenthal Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Rachel Rosenthal AAA.rosent89 Collection Overview Repository: Archives of American Art Title: Oral history interview with Rachel Rosenthal Identifier: AAA.rosent89 Date: 1989 September 2-3 Creator: Rosenthal, Rachel, 1926- (Interviewee) Roth, Moira (Interviewer) Women in the -
Oral History Interview with June Wayne, 1970 August 4-6
Oral history interview with June Wayne, 1970 August 4-6 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with June Wayne on August 4, 1970. The interview took place in Los Angeles, CA, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview Tape 1, Side 1 PAUL CUMMINGS: It's August 4 - Paul Cummings talking to June Wayne in her studio. Well, how about some background. You were born in Chicago? JUNE WAYNE: Yes, I was. I understand I was born at the Lying-In Hospital on the Midway in Chicago. Right in the shadow of the University of Chicago. PAUL CUMMINGS: And then you went to Gary, Indiana? JUNE WAYNE: I went to Gary when I was an infant. I don't know whether I was a year old or two years old. I do know that I was back in Chicago by the time I was four or five. So my stay in Gary was very brief. Incidentally, I have memories of Gary, of the steel mills at night, those giant candles with the flutes of fire coming out of the stacks. I also remember very vividly picking black-eyed Susans along the railroad tracks of the Illinois Central in Gary. I must have lived somewhere nearby. My grandmother used to take me for walks along there. I can remember that very significantly. I have lots of memories of Gary. -
Tamarind Homage to Lithography Preface by William S
Tamarind homage to lithography Preface by William S. Lieberman. Introduction by Virginia Allen Author Museum of Modern Art (New York, N.Y.) Date 1969 Publisher Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1869 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Tamarind:Homage to Lithography Tamarind: Homage to Lithography Preface by William S. Lieberman Introduction by Virginia Allen 4- The Tamarind Lithography Workshop has almost single- handedly revived the difficult medium of lithography in the past decade. It has provided not only the materials but also the environment that fosters the delicate collaboration be tween artist and printer. Such an environment and indeed even the materials were almost nonexistent in the United States before June Wayne and the Ford Foundation agreed on the importance of providing them. Since Tama rind opened its doors in 1960 it has provided fellowships for numerous artists and printers, most of whom have con tinued their exploration of lithography after leaving Tama rind. The author describes this unique Workshop and also gives a brief history of lithography in Europe and in the United States. Included is a list which catalogs part of the promised gift to The Museum of Modern Art of the Kleiner, Bell and Company Collection of Tamarind Impressions. The author, Virginia Allen, former curator of Tamarind, is now Assistant to William S. -
Hir Eth a a I Su
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. -
Partial Artist List: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T
Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011 – January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design This exhibition presents artwork, graphic design, ephemera, and documentation of work by the artist collectives and individual artists/designers who participated in collaborative projects at the Woman’s Building in Los Angeles between 1973-1991. Artist Collectives/Projects: Ariadne: A Social Network, Feminist Art Workers, Incest Awareness Project, Lesbian Art Project, Mother Art, Natalie Barney Collective, Sisters of Survival, The Waitresses, Chrysalis: A magazine of Women’s Culture, and more. Partial artist list: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T. Clinton Hyunsook Cho Yreina Cervantez Candace Compton Jan Cook Juanita Cynthia Sheila Levrant de Bretteville Johanna Demetrakas Nelvatha Dunbar Mary Beth Edelson Marguerite Elliot Donna Farnsworth Anne Finger Audrey Flack As of 9-27-11 Amani Fliers Nancy Fried Patricia Gaines Josephina Gallardo Diane Gamboa Cristina Gannon Anne Gauldin Cheri Gaulke Anita Green Vanalyne Green Mary Bruns Gonenthal Kirsten Grimstad Chutney Gunderson Berry Brook Hallock Hella Hammid Harmony Hammond Gloria Hajduk Eloise Klein Healy Mary Linn Hughes Annette Hunt Sharon Immergluck Ruth E. Iskin Cyndi Kahn Maria Karras Susan E. King Laurel Klick Deborah Krall Christie Kruse Sheila Levrant de Bretteville Suzanne Lacy Leslie Labowitz-Starus Lili Lakich Linda Lopez Bia -
Eye to I: Self-Portraits from the National Portrait Gallery on View June 12 to September 12
MASTERWORKS SPONSORSHIP OPPORTUNITIES Eye to I: Self-Portraits from the National Portrait Gallery On view June 12 to September 12. Drawing from the National Portrait Gallery’s vast collection, Eye to I will examine how artists in the United States have chosen to portray themselves since the beginning of the last century. The exhibition has been organized by the Smithsonian's National Portrait Gallery, Washington, D.C. and supported in part by Mr. and Mrs. Michael H. Podell. ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] MASTERWORKS SPONSORSHIP OPPORTUNITIES Featured MasterWorks $1,000 – Pages 1-4 Paintings $500 – Pages 5-16 Prints, Photography, Drawings, and Watercolors $250 – Pages 17-60 ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] MASTERWORKS FEATURED WORK• $1,000 Robert Rauschenberg 1925 Port Arthur, Texas – 2008 Captiva, Florida Autobiography 1968 offset lithograph National Portrait Gallery, Smithsonian Institution; the Ruth Bowman and Harry Kahn Twentieth-Century American Self- Portrait Collection NPG.2002.313 ALBUQUERQUE MUSEUM FOUNDATION To sponsor a MasterWork call Elaine Richardson 505.677.8491 or email [email protected] Page 1 MASTERWORKS FEATURED WORK • $1,000 Roger Shimomura born 1939 Seattle, Washington; lives Lawrence, Kansas Shimomura Crossing the Delaware 2010 acrylic on canvas National Portrait Gallery, -
The LA Art Scene in the Political 1970S
American Studies in Scandinavia, 48:1 (2016), pp. 61-83. Published by the Nordic Association for American Studies (NAAS). Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s Eva Zetterman University of Gothenburg Abstract: Originating in the context of the Civil Rights Movements and political ac- tivities addressing issues of race, gender and sexuality, the Women’s Liberation move- ment and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separa- tion, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main com- ponents are discussed: their respective political aims, alternative art spaces, peda- gogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art. Keywords: the Los Angeles art scene – art activism – alternative art spaces – Chica- nas/os – feminism In the historiography of fine art, the 1970s is recognized as the decade when feminism entered the scene. -
Irish Hooley Year
My cell phone let loose the mortal coil the other ing to change my world while maintaining the day so I broke down and got a BlackBerry. I would status-quo. Impossible, I know. So I’m screwed. have preferred to try out an iPhone, but we have But I fight forward anyway. The trick is to sur- like ten phones on the company package and I round yourself with the people who are not afraid would have to switch providers to do that and at to stick their head through door #2 and see what that point the migraine set in. So I stayed put and happens. I know door #1 works quite well, thank went with the flow. you. But when they show me that door #2 works even better, I start using it. I want “Limelight” by The first reaction I got from most people was dis- Rush as my ringtone on my new BlackBerry but I belief. Not that i didn’t go with the iPhone (when don’t really want to spend the time trying to figure it comes to Apple-related products, I kind of drink out how to do it. I want things fixed but never the Kool-Aid). The disbelief was that I didn’t al- want to try to figure out how to fix it myself. Must ready have one, or even two. I guess my friends be the Democrat in me. (And now the other half who are less technologically savvy than me think of you are equally offended.) I’m one of those cutting-edge tech guys who al- ways has the latest and greatest tools. -
Julia Thecla: Undiscovered Worlds Joanna Gardner-Hugget
Via Sapientiae: Masthead Logo The nI stitutional Repository at DePaul University DePaul Art Museum Publications Academic Affairs 1-1-2006 Julia Thecla: Undiscovered Worlds Joanna Gardner-Hugget Louise Lincoln Recommended Citation Gardner-Hugget, Joanna and Lincoln, Louise, "Julia Thecla: Undiscovered Worlds" (2006). DePaul Art Museum Publications. 11. https://via.library.depaul.edu/museum-publications/11 This Book is brought to you for free and open access by the Academic Affairs at Via Sapientiae. It has been accepted for inclusion in DePaul Art Museum Publications by an authorized administrator of Via Sapientiae. For more information, please contact [email protected], [email protected]. JULIA THECLA undiscovered worlds DEPAUL UNIVERSITY ART MUSEUM JULIA THECLA undiscovered worlds DEPAUL UNIVERSITY ART MUSEUM Julia Thecla Undiscovered Worlds September 14 - November 22, 2006 DePaul University Art Museum Chicago, Illinois Copyright © 2006 DePaul University ISBN-13: 978-0-9789074-1-9 ISBN-10: 0-9789074-1-8 Cover image: Julia Thecla. In the Clouds, 1960. Oil on canvas. DePaul University (cat. no. 26) Photo on page 5: Season’s Greetings, about 1945. Photomechanical reproduction. Courtesy of Barton Faist Studio and Gallery, Chicago Photo on page 42: Julia Thecla at an Art Institute of Chicago opening, about 1936. Courtesy of Barton Faist Studio and Gallery, Chicago ACKNOWLEDGMENTS We acknowledge with deep gratitude the generosity of individual lenders to the exhibition: Harlan Berk, River Forest, Illinois; John Corbett, Chicago; Leon and Marian Aschuler Despres, Chicago; Maximilienne Ewalt, San Francisco; Barton Faist, Chicago; Brenda Faist, Chicago; Daniel and Elizabeth McMullen, Naperville, Illinois; Edward Mogul, Chicago; and Montserrat Wassam, San Francisco, California. -
Arabic Gospels in Italy • Wangechi Mutu • Lorena
US $30 The Global Journal of Prints and Ideas November – December 2014 Volume 4, Number 4 Arabic Gospels in Italy • Wangechi Mutu • Lorena Villablanca • Vishnu in the Netherlands • Ukiyo-e Heroes David Hockney • Connecting Seas • Yona Friedman • Ed Ruscha • Gauguin at MoMA • Prix de Print • News November – December 2014 In This Issue Volume 4, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On Globalism Associate Publisher Evelyn Lincoln 4 Julie Bernatz Gospel Lessons: Arabic Printing at the Tipografia Medicea Orientale Managing Editor Dana Johnson Zoe Whitley 11 International Geographic: Wangechi Mutu News Editor on Paper, Print and Printmaking Isabella Kendrick Carlos Navarrete 16 Manuscript Editor Everyday and Popular Imagery Prudence Crowther in the Prints of Lorena Villablanca Online Columnist Robert J. Del Bontà 20 Sarah Kirk Hanley Engraving India in 17th- and 18th-century Europe Design Director Skip Langer Christina Aube 26 Navigating Difference, Connecting Seas Editorial Associate Andrew Saluti 30 Michael Ferut Defenders of the Floating World Editor-at-Large Prix de Print, No. 8 34 Catherine Bindman Faye Hirsch Cartier Window by Stella Ebner Reviews Julia Beaumont-Jones 36 The Rake’s Progress Laurie Hurwitz 40 27 Square Meters, 1001 Nights Faye Hirsch 42 Ruscha’s Course of Empire Calvin Brown 45 Gauguin at MoMA On the Cover: Coenraet Decker, detail of Matsya (1672), copperplate engraving from Jaclyn Jacunski 49 Philippus Baldeaus, Afgoderye der Oost- Past Partisans Indisch heydenen (Pt. III of Naauwkeurige beschryvinge), Amsterdam: J. Janssonius v. John Murphy 50 Collective Brilliance Waasberge & J. v. Someren. Elleree Erdos 52 This Page: Wangechi Mutu, detail of The Proof: Lingen—Melby—Miller Original Nine Daughters (2012), series of nine etching, relief, letterpress, digital printing, News of the Print World 55 collage, pochoir, hand coloring and handmade Contributors 79 carborundum appliques.