Sentences with phrase «lithography workshop»

Later in the 1960s, he worked as a printmaker at the influential Tamarind Lithography Workshop, where he explored Pythagorean number structures in an important series.

1960: June Wayne founds Tamarind Lithography Workshop.

He has received grants from the National Endowment for the Arts (1967), the Tamarind Lithography Workshop (1968, 1982, 1987), and the John Simon Guggenheim Memorial Foundation (1975).

Several years previously, in 1963, Albers had visited the Tamarind Lithography Workshop in Los Angeles, and was immediately attracted to the printing process and the potentials of lithography.

The trouble is that, by stopping around the end of the 50s, the British Museum's collection misses out on the remarkable boost in ambition and quality of American printmaking that came from such ventures as June Wayne's Tamarind Lithography Workshop, which started in 1960, followed by the entrepreneurial ambitions of master printmakers such as Tanya Grossman in New York and Gemini G.E.L. in Los Angeles.

The exhibition, titled Rufino Tamayo: Tamarind Lithography Workshop, features 16 prints created by the artist at the Tamarind Lithography Workshop in Los Angeles in 1964.

He was awarded the Ford Foundation grant to work at Tamarind Lithography Workshop in Los Angeles, the National Endowment for the Arts Grant, and the Peter and Madeleine Martin Foundation for the Creative Arts grant.

A new exhibition of the pop artist looks at more than 70 works spanning four decades, many of which are connected to Los Angeles and the artist's collaboration with important print studios here — including Gemini G.E.L. and Tamarind Lithography Workshop.

His prints have been published by Brooke Alexander Gallery in New York, Tamarind Lithography Workshop in California, Pyramid Arts, and Graphicstudio.

A black - and - white lithograph, one from an extensive suite of prints McLaughlin made as an artist - fellow at Hollywood's Tamarind Lithography Workshop in 1963, is also included in the Norton Simon Museum's current PST exhibition, «Proof: The Rise of Printmaking in Southern California.»

Published by Lithography Workshop, Nova Scotia College of Art and Design, Halifax.

The emphasis on the physicality of paint, which reigned supreme in the 1940s and 50s, had relegated printmaking to second - class status in 1960, when artist June Wayne founded Tamarind Lithography Workshop in Los Angeles.

Printed by Ken Tyler, Published by the Tamarind Lithography Workshop.

June Wayne founded Tamarind Lithography Workshop, Inc. in Los Angeles in 1960 in an effort to generate interest in lithography and make it accessible to artists.

All of his important series of prints will be featured: the work with Tamarind Lithography Workshop in the mid-1960s; a selection from his disorienting series of maze - like lithographs; and all three volumes of «The Dennis Hopper One Man Show,» a series of etchings based on engraving collages.

The prints, drawings and book document a history of Gego's involvement with prominent printmaking workshops in North America including Iowa State University; Pratt Institute, New York; and Tamarind Lithography Workshop, Los Angeles.

The exhibition will also feature many little - known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and prints made at the Tamarind Lithography Workshop in Los Angeles, founded by June Wayne.

From 1963 to 1967 Gego focused on refining her printing technique with grant - funded trips to print workshops at the Pratt Institute in New York and the Tamarind Lithography Workshop in Los Angeles.

She was a visiting artist at the Tamarind Lithography Workshop in 1970 - 1971.

Roger Shimomura (American, b. 1939) American Buddhahead, 2012 from the series American Knockoff color lithograph on white Arches cover paper 29 x 10 inches Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri Gift of the Lawrence Lithography Workshop in honor of the 20th Anniversary of the Kemper Museum of Contemporary Art, 2014.9 © Roger Shimomura, courtesy of the Lawrence Lithography Workshop.

In addition, upon his hiring, Ferguson also insisted on hiring Jack Lemon, a master printer who had worked at the Kansas City Art Institute, to open a lithography workshop.

The first goal enumerated upon the founding of the Tamarind Lithography Workshop in Los Angeles in 1960 was to «create a pool of master artisan - printers in the United States» in an effort to revive the method of fine art lithography.

Home and Away features printed works by Asawa while in residence at the Tamarind Lithography Workshop in Los Angeles in 1965.

Drawn from the Amon Carter's collection, this selection of lithographs features two thematic series that Sterne completed at the Tamarind Lithography Workshop in 1967: Metamorphoses, a study of the vegetal folds of a head of lettuce, and Vertical - Horizontals, a study of the atmospheric recession of the horizon.

A local lithography workshop selling prints by Lyla Shlon and Amy Cousins, among others.

The NSCAD lithography workshop, during the few years of its existence, not only trained students in the craft of printmaking but also produced prints by major Canadian and international artists.

Founded by artist June Wayne in 1960 as Tamarind Lithography Workshop in Los Angeles, Tamarind Institute (now in Albuquerque, New Mexico) changed the canon of printmaking in 20th century America and continues to set the standard for fine art lithography — an extremely complex and nuanced printmaking process.

Strong holdings in later 20th - century works on paper include a decade's production, 1960 — 1970, from the innovative Tamarind Lithography Workshop, including artist's books and suites by Louise Nevelson and Rufino Tamayo.

From the draft of an introductory talk by Gego at the Tamarind Lithography Workshop in Los Angeles, 1966

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

Given the high - minded nature of the subject material in tandem with the technical accomplishment of the previous series, Wayne's creation of the Tamarind Lithography Workshop in 1960 seems a perfect compliment to the artist's passion for print as a fine art medium.

Wayne revitalized the practice of Lithography beginning in 1960 with the founding of the famed Tamarind Lithography Workshop.

In 1965, Walter Hopps organized a solo exhibition of the artist's sculptures and drawings at the Pasadena Art Museum (now Norton Simon Museum) in California, where the artist completed a residency at the Tamarind Lithography Workshop the same year.

Not exact matches

As part of the Jasper Johns: Variations on a Theme at The Phillips Collection, master printer and professor Scip Barnhart demonstrated to visitors the following printmaking processes: intaglio, lithography, and silkscreen in a workshop adjacent to the exhibition.

Core / Fluke / Display, 1991 Portfolio of three prints, Individually titled Silkscreen with lithography on Coventry Rag paper Each 26 x 38 inches Edition of 50 Publisher: Edition Schellmann & Pace Editions Printer: Alexander Heinrici & The Spring Street Workshop

Raventós expanded her studies in etching and lithography at the Friedlaender workshop (Paris) and Smithsonian Institute in Washington D.C..

Many of the editioned prints on view were produced in collaboration with nationally prominent print workshops and publishers, such as Universal Limited Art Editions; Gemini G.E.L.; Crown Point Press; Tyler Graphics; Pace Editions; Shark's Lithography; and the Lower East Side Print Shop.

First established in 1964 in Barcelona, Polígrafa's renowned workshop was opened in the 1970s, enabling artists to use traditional printing techniques including woodcut, etching, and lithography to realize their ideas and give them the space to experiment and innovate.

In the 1970s Joan de Muga, son of the founder, opened Polígrafa's own workshop with facilities for etching, lithography, woodcuts, and other traditional print techniques.

The evolution from a studio specializing in Stone Lithography publishing and printing into a workshop dealing with more diverse offerings took place during the 80s and 90s with the SOLARPLATE process gaining more momentum.

Wagner has taught courses in drawing, etching, relief printmaking, lithography, serigraphy, papermaking, book arts and interdisciplinary collaboration and has coordinated numerous printmaking workshops at the Atlanta College of Art.

The Los Angeles County Museum of Art and the L.A. print workshop Gemini G.E.L., one of the country's foremost publishers of art lithography, both opened about 50 years ago and came of age together in the mid-1960s.

When Helen Frankenthaler was invited to the Universal Limited Art Editions print workshop, she was unsure if her large - scale expressive technique would translate to lithography.

1977 Conducted workshops in bi-metal plate lithography, Colorado State University, Fort Collins, CO, and University of Wyoming, Laramie, WY

1981 Lectured on painting and conducted a workshop in bi-metal plate lithography, Nicholls State University, Thibodaux, LA

A synchronicity unknown to Skaer was that the Iowa Print Workshop founded by Mauricio Lasansky — the dean of American lithography — still uses these stones.