Post by deanna on Oct 24, 2013 12:01:03 GMT -7
Indelible Gestures:
Abstract Expressionism at Tamarind Lithography Workshop
Lecture by Jennifer Field, Ph. D. Candidate, Institute of Fine Arts, NYU
Wednesday October 30th, 12:00
UNM Art Museum
Clinton Adams Gallery
In 1960, June Wayne established Tamarind Lithography Workshop in Los Angeles to revive the medium of lithography in the United States. She actively sought to attract New York School artists to the workshop, but market pressures for paintings and biases against printmaking as an antiquated medium made them resistant to the idea. This lecture will chronicle Wayne’s strategies for Tamarind and other ways that Abstract Expressionist sensibilities entered the workshop, prompting printers to respond to the pressures—heretofore unfamiliar to printmaking—of new painting and eventually establishing printmaking as an avant-garde medium. In turn, it will examine the ways in which lithography impacted Abstract Expressionists’ work in other mediums.
Jennifer Field is a Ph.D. Candidate at the Institute of Fine Arts, New York University, where she is writing her dissertation on the role of New York School painters on the development of avant-garde printmaking in the United States. She previously worked in the Department of Painting and Sculpture at The Museum of Modern Art as a research assistant and author for Willem de Kooning: A Retrospective (2011-12), and as a curatorial assistant for several other exhibitions.
Abstract Expressionism at Tamarind Lithography Workshop
Lecture by Jennifer Field, Ph. D. Candidate, Institute of Fine Arts, NYU
Wednesday October 30th, 12:00
UNM Art Museum
Clinton Adams Gallery
In 1960, June Wayne established Tamarind Lithography Workshop in Los Angeles to revive the medium of lithography in the United States. She actively sought to attract New York School artists to the workshop, but market pressures for paintings and biases against printmaking as an antiquated medium made them resistant to the idea. This lecture will chronicle Wayne’s strategies for Tamarind and other ways that Abstract Expressionist sensibilities entered the workshop, prompting printers to respond to the pressures—heretofore unfamiliar to printmaking—of new painting and eventually establishing printmaking as an avant-garde medium. In turn, it will examine the ways in which lithography impacted Abstract Expressionists’ work in other mediums.
Jennifer Field is a Ph.D. Candidate at the Institute of Fine Arts, New York University, where she is writing her dissertation on the role of New York School painters on the development of avant-garde printmaking in the United States. She previously worked in the Department of Painting and Sculpture at The Museum of Modern Art as a research assistant and author for Willem de Kooning: A Retrospective (2011-12), and as a curatorial assistant for several other exhibitions.