Talk:Timeline of 20th century printmaking in America

/Archive Completed items

Auguste Delâtre, Frontispiece to Les Graveurs du XIX Siecle, By Henri Beraldi, 1886

Background in the 19th century:

• Invention and improvements in the photographic process
• Around 1820 John Hill creates and publishes aquatints of Picturesque Views of American Scenery
• 1825 - John Pendleton establishes the first American lithography shop, Boston.
• 1834 - Nathaniel Currier opens a print shop in New York producing journalistic images of current events.
• 1852 - James Merritt Ives joins Currier's studio, from which point the name 'Currier & Ives' was identified with 'decorative hand-colored lithographs depicting biblical stories and scenes from American life'.
• 1860 - L. Prang & Company established in Boston. The company produces Chromolithographs

• 1899-1914 - California artist Helen Hyde (1868-1919) begins her studies in Japan. She learns techniques of color woodblock printing from Emil Orlík.

References

ideas/themes to be considered for inclusion

• printmaking as a collaborative process

• art for everybody

• transition of silkscreen printing from commercial tool to fine art medium, and later with Warhol a semi-return to quasi-commercial applications (within the context of producing mass-marketable art), mass production, using photographs instead of original art. — Preceding unsigned comment added by Rwarsager (talk • contribs) 00:36, 4 February 2023 (UTC)

Search terms

Artist and Printer: Printmaking as a Collaborative Process

The Print collector's newsletter

The Print collector's newsletter 1970 - 1996

• Succeeded by "On Paper" 1996-1998
• Succeeded by "Art on Paper" 1998-2009

References

Printmaking Timeline

Hi, WomenArtistUpdates. I hope your projects are going well. Just wanted to touch base - Regarding 1980's and 90's developments in printmaking in America I thought I would contact the Brandywine Project and the Los Angeles Printmaking Society to inquire about sources they may have. One recommendation is a book "60 Years of North American Prints, 1947-2007. Sounds promising but I have not been able to get my hands on it yet. I'm going to try the Watson Library at the Met Museum. I will be in NYC in a few weeks. I cannot find it on their site but I'll ask in person as well. Next week I'm scheduled to visit the Brandywine Project in Philly. They have a library they've said I could explore. Also, just out of curiosity I asked ChatGPT about late 20th century developments and it returned what you see below. No need to reply as I know you're very busy. All the best, Rwarsager

From ChatGPT: Serigraphy, also known as screen printing, is a printing technique that involves pressing ink through a stencil onto a surface. It has been used for centuries, but in the United States, it experienced a surge of popularity in the 1960s and 1970s as a medium for creating fine art prints. By the 1980s, serigraphy had become a widely recognized and respected art form, and several significant events contributed to its development during this decade.

Here are a few notable events in the history of serigraphy in America during the 1980s:

1. Establishment of the International Fine Print Dealers Association (IFPDA) in 1987: The IFPDA is an organization that promotes the art of fine prints and printmaking, including serigraphy. Its establishment in 1987 helped to increase the visibility and legitimacy of serigraphy as a fine art form.
2. The rise of the New York Academy of Art: Founded in 1982, the New York Academy of Art offered a rigorous program in traditional and contemporary fine art techniques, including serigraphy. It attracted a number of talented artists, and helped to elevate the status of serigraphy as a fine art form.
3. The emergence of serigraphy as a medium for political and social commentary: Throughout the 1980s, serigraphy was used as a medium for political and social commentary, particularly in the context of the AIDS crisis and the Reagan administration's policies. Artists such as Keith Haring and Barbara Kruger used serigraphy to create powerful statements about social justice and political activism.
4. The continued use of serigraphy in popular culture: Serigraphy continued to be used in popular culture throughout the 1980s, particularly in the music industry. Bands such as the Grateful Dead and the Rolling Stones used serigraphy to create distinctive and memorable concert posters.

Overall, the 1980s were a significant decade for the development of serigraphy as a fine art form in America. The establishment of organizations such as the IFPDA, the rise of the New York Academy of Art, and the use of serigraphy as a medium for political and social commentary all helped to elevate the status of serigraphy and establish it as a respected and legitimate art form. Rwarsager (talk) 00:47, 25 March 2023 (UTC)

Wow Rwarsager This is really interesting! And it reminds me that I/we should be sure to include Haring's work with silk screen. (Kruger too). Could you ask ChatGPT to research the "over-saturation of artist prints in the American art market 1990 (just to see what it finds)? --WomenArtistUpdates (talk) 00:58, 3 April 2023 (UTC)

Hi, WomanArtistUpdates. Good pont about Haring and Kruger's work. So I asked ChatGPT the question about over-saturation and the first response was this:

The oversaturation of artist prints in the American art market since 1990 can be attributed to several factors, including the increased availability of printing technology, the rise of digital art, and the increasing demand for affordable art.

Prior to the 1990s, the production of prints was a time-consuming and expensive process that was typically limited to a select group of established artists. However, with the advent of new printing technologies such as digital printing and giclee printing, the process of creating prints became more accessible and cost-effective.

As a result, many artists began producing prints in greater quantities, often with the goal of making their work more affordable and accessible to a wider audience. This led to a proliferation of prints in the art market, which in turn made it more difficult for collectors to distinguish between high-quality, limited edition prints and mass-produced, lower-quality prints.

Furthermore, the rise of digital art in the 1990s and beyond has also contributed to the oversaturation of the print market, as many digital artists have used printing technologies to reproduce their work in large quantities.

Overall, the oversaturation of artist prints in the American art market since 1990 has had both positive and negative effects. On the one hand, it has made art more accessible to a wider audience and provided artists with a new revenue stream. On the other hand, it has made it more difficult for collectors to discern the quality and value of prints, and has led to a proliferation of lower-quality prints that can dilute the value of an artist's work.

=======

Then I clicked on 'Regenerate response' and this came back:

The oversaturation of artist prints in the American art market since 1990 refers to the proliferation of reproductions of artworks created by contemporary artists in the form of limited edition prints. This phenomenon has been driven by several factors, including advances in printing technology, the increasing popularity of collecting contemporary art, and the rise of art fairs and online art marketplaces.

One of the main drivers of the oversaturation of artist prints has been the development of digital printing technology, which has made it easier and cheaper to produce high-quality reproductions of artworks. This has allowed artists and publishers to create larger editions of prints, which has in turn increased the supply of prints available in the market.

At the same time, the growing popularity of collecting contemporary art has created a greater demand for prints by artists who are still working and producing new work. Collectors are often drawn to prints as a more affordable way to acquire work by well-known artists, and as a way to support artists whose original artworks may be out of reach financially.

The rise of art fairs and online art marketplaces has also contributed to the oversaturation of artist prints. These platforms have made it easier for artists and publishers to market and sell their prints directly to collectors, bypassing traditional gallery networks. This has led to a proliferation of new print publishers and editions, which has further increased the supply of prints available in the market.

While the oversaturation of artist prints has made it easier for collectors to acquire work by their favorite artists, it has also created challenges for artists and publishers who must compete in an increasingly crowded market. As the supply of prints has increased, prices for some editions have decreased, making it more difficult for artists and publishers to earn a living from their printmaking activities.

I'm just beginning to explore ChatGPT's body of 'knowledge'. It's a bit strange but also fun.

I've been preoccupied lately but I did follow my visit to the Brandywine Workshop and Archives by purchasing online some of the books I looked at while in their library recently. Some really good books, especially several by the excellent Reve Cattleman. I'm finding a variety of items worthy of adding to the Timeline, so I hope to do some of that work this coming weekend.

All the best,

Rwarsager Rwarsager (talk) 23:39, 5 April 2023 (UTC)

Brilliant Rwarsager! I don't know how we can add it to the timeline, but (sound of palm slapping forehead), of course "digital printing and giclee printing" and (again, sound of palm slapping forehead) "the rise of art fairs and online art marketplaces". The whole niche has come full circle - the proliferation of photography diminished the market for commercial printmaking and the proliferation of digital technology diminished the market for artistic printmaking. WomenArtistUpdates (talk) 00:55, 7 April 2023 (UTC)

Hi, WomenArtistUpdates. I had a weird autocorrect above in the name of the historian/curator. I meant to type Riva Castleman. Her books are excellent.

Yes, I was thinking about that, too. The coming around in a big circle. I need to do much more reading but my elementary sense is that Warhol was one of the triggers for the re-commercialization. I know he's held in high esteem by the critic Arthur Danto and others, but bringing photography into the serigraphy process seems to have been part of the circle.

I really think your idea for the timeline of American printmaking is excellent. As you've noted, it can really pull things together in a clear way. I've been thinking about what level of granularity is both practical and meaningfully informative. I don't want to add events that are so obscure as to be unhelpful. But I suppose there is a degree of subjectivity in creating a timeline. I think for the draft it's perhaps better to err on the side of adding an event than withholding. We can always remove them later if they're too far off the main historical path. In the meantime, they can provide some color to the historical narrative.

All the best,

Rwarsager Rwarsager (talk) 01:34, 7 April 2023 (UTC)

Hi, WomenArtistUpdates. Happy Holidays to you!

Just a follow up note - I see that you have cited the excellent book "Printmaking in America: Collaborative Prints and Presses, 1960-1990". I love this book. I just got it online after seeing it at the Brandywine Workshop in Philly that I mentioned. As. you know, it's full of numerous facts about the founding of various printshop. So many. This history is interesting. I'm adding some of those from the book to give a sense of the lively scene in America in the postwar years. I welcome any guidance or preferences you may have. I want to add only the type of events that you like to see in the timeline. Thanks! Rwarsager (talk) 19:30, 9 April 2023 (UTC)

Quick question Rwarsager - In 1964 you added the Hollander Workshop Gallery. I can't find a reference for the gallery start date. Do you have it handy? SORRY! Saw the first edit and missed the second with the citation. WomenArtistUpdates (talk) 00:23, 11 April 2023 (UTC)

Are we about ready to move to main space?

Rwarsager, Do you feel comfortable with me moving the article to the main space in the near future? When I move the page I should be able to move all the edit history and talk page notes along from the sandbox version. I know we haven't gotten the 1990s covered, but I think it is ready to go.

My preference would be to move the "Background in the 19th century" onto the talk page for now. I am not sure if we need it, or if it will cause more problems than answer questions.

I'll still be working on it, but it will be open to the wider community and we can begin to address any concerns from other editors, and also hope more editors will contribute. What do you think? WomenArtistUpdates (talk) 00:29, 11 April 2023 (UTC)

Hi. Sure, that sounds good. I think it's quite a good start and forms the basis for an excellent, detailed timeline of the century. I'm pretty new at this so I'm very curious to see how folks respond. It would be great if they start adding content. Overall, I feel like what we have here is a good backbone on which to build further content.

There are various events that I would like to add as we go forward, some from the book I mentioned above, "Printmaking in America". I plan to do that it in a more orderly way than I have so far with the printshop startups in particular. I'll work up a list of items offline (with citations) and then post them, rather than the one at a time the way I've been doing.

I was thinking also that it could make sense to include a sentence or two at the beginning of each decade that highlights the main feature of the decade, or simply gives a sense of the artistic climate as relates to printmaking, either generally or with respect to a particular aspect. A few examples, from Printmaking in America: (1) "The 1960s saw the print, which could reflect and interpret a multitude of images, as a perfect vehicle to explore ideas and technologies, and to bring art new and expanding audiences". (2) "Despite shifts in artistic tastes, collaborative workshops sustained steady growth throughout the 1970s. If the decade of the 1960s was committed to developing an audience for prints, the 1970s were devoted to developing and expanding their market". (3) As American culture grew increasingly fragmented, the 1970's involved into an eclectic and compartmentalized 1980s. . . . . .Throughout the 1980s, appropriation and serial imagery could be seen in prints that once again challenged notions of originality, and demanded intense intellectual engagement, or at least a knowledge of art and current issues, from the viewer. " I'm just thinking out loud here with the above. A brief introductory comment or two could offer a jumping off point as readers enter each decade, although I suppose people will jump around a bit with any timeline rather than typically read in a linear fashion.

Thank you. Rwarsager (talk) 01:53, 11 April 2023 (UTC)

Rwarsager, I like your idea for the a sentence or two at the beginning of each decade! I am going to clean up the page a bit more, but hope to move it tonight. WomenArtistUpdates (talk) 22:41, 11 April 2023 (UTC)

Hi, WomenArtistUpdates. I'm glad you like the idea. I'm looking forward to the next stage with the timeline. Thank you.

Rwarsager Rwarsager (talk) 00:38, 12 April 2023 (UTC)

Axios article on Wikipedia & MetMuseum upcoming exhibition

Hi, WomenArtistUpdates. I hope you're well.

In case you have not seen this article on Axios I'm sending you the link. https://www.axios.com/2023/04/27/wikipedias-influence-grows Very interesting.

==========

I just returned from New York where I visited the Drawing and Print Study Room to view some early 20th century prints, primarily by the master lithographer Louis Lozowick, and I picked up a copy of the department's newsletter (Issue 4), (https://www.metmuseum.org/-/media/files/about-the-met/curatorial-departments/drawings-and-prints/2022-drawings--prints-newsletterfinal.pdf?sc_lang=en&hash=DAE8F440CD3BFE27BEDA62DB1CD638F9) in which there is an article by curator Allison Rudnick about her upcoming exhibition called "Art for the Millions: American Culture and Politics in the 1930's", opening September 5. The exhibition "will survey the visual culture of the U.S. during a decade characterized by political and social upheaval, with a focus on the transmutation of political ideas through different media -from painting to postcards to film." It will include works by some WPA artists. The article is in the link above if you would like to see it and the newsletter.

Best regards, Rwarsager Rwarsager (talk) 21:51, 27 April 2023 (UTC)

Consistent wording

Hi, WomenArtistUpdates. I hope you're very well. I realized that I have not been entirely consistent in the initial wording when placing events in the timeline, using past tense in some and present tense in others. e.g. XYZ founds the print shop . . . vs. XYZ founded the printshop. I'd be happy to go through the timeline and make the wording consistent throughout, if you'd like me to. If so, just let me know which tense you'd prefer. I hope all your projects are going well! Thank you. Best regards, Rwarsager Rwarsager (talk) 18:11, 20 May 2023 (UTC)

Hi Rwarsager. I would prefer past tense. How about you? WomenArtistUpdates (talk) 00:39, 21 May 2023 (UTC)

Hi. I agree with that. I will start the process and convert to past tense. Thanks. Rwarsager (talk) 15:24, 21 May 2023 (UTC)

Print Revival

Hi, WomenArtistUpdates. I hope you're well!

I came across a short piece on the Print Revival in a 1995 book called "Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords - 1945 to the Present. I scanned and made a pdf of the piece but I'm not sure how to add the pdf to this message, or if it's possible to do that. Please advise at your convenience. Based on this piece I think we have pretty good coverage in the Timeline. I'm going to add some items to the Timeline regarding the print revival era this weekend from a good source. Thank you. All the best, Rwarsager (talk) 20:29, 3 June 2023 (UTC)

Suggestion

Hi Rwarsager, Suggestion - When you come across a nugget that you want to elaborate on, consider going to the appropriate page like Rauschenberg, Wayne, Crown Point Press, and Grosman and adding it there - either instead or along with. You already have the fact & citation. That's the beauty of blue links, being able to go from the timeline to the topic and learn more there. WomenArtistUpdates (talk) 17:00, 7 June 2023 (UTC)

Thank you. Great idea. I like that.

I'm going to be traveling and offline for the near future. I wish you well in all your projects!

All the best,

Rwarsager Rwarsager (talk) 00:37, 9 June 2023 (UTC)

Parasol Press, Ltd.

Hi Rwarsager,

Parasol Press, Ltd. created. Now I am thinking that the Concinnitas portfolio needs an article! WomenArtistUpdates (talk) 17:44, 2 July 2023 (UTC)

Hi, WAU. That's great. Yes indeed, that portfolio is very interesting. The synergy between math and art is fascinating.

All the best,

Rwarsager Rwarsager (talk) 20:58, 3 July 2023 (UTC)

• http://www.concinnitasproject.org/
• https://fac.umass.edu/UMCA/Online/default.asp?BOparam::WScontent::loadArticle::permalink=Concinnitas&BOparam::WScontent::loadArticle::context_id=
• http://aeqai.com/main/2017/11/math-is-hard-and-beautiful-in-context-the-concinnitas-portfolio-at-krakow-witkin-gallery/

etc