Sentences with phrase «tamarind lithography»

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.»

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.

Howard Altman was awarded two Guggenheim Fellowships, a Tamarind Lithography Fellowship, a National Institute of the Arts and Letters Award, a Fulbright - Hayes Senior Research Fellowship for work in France and a National Endowment for the Arts Grant.

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.

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.

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.

He was also part of the Tamarind Lithography Shop and showed briefly with Pointdexter Gallery in the 1970's.

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.

Coming between the prosecutions of Wallace Berman and Edward Kienholz, Everts's trial galvanised the community that was then centred on the Chouinard Art Institute (where Everts taught), the Tamarind lithography studio and the Pasadena Art Museum, where he had a solo exhibition of drawings in 1960 (and which became the Norton Simon in 1975).

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

In addition, his work has been in numerous group exhibition catalogues, including Solomon R. Guggenheim Museum, One Hundred Paintings from the G. David Thompson Collection and the Museum of Modern Art, Tamarind: Homage to Lithography.

With its trademark passion, Tamarind enters the next fifty years committed to its original goals to invigorate and fortify lithography and to expand its reach throughout the world

Ferguson has given talks about lithography and Tamarind to The International Society of Appraisers, along with several national museum groups, organizations and institutions.

Tamarind was founded in the absence of an American print shop dedicated to serving artists, and during a period when American artists tended to reject lithography and collaborative printing in favor of the more «direct... immediate» possibilities of abstract expressionist painting.

As a prolific printmaker himself, he was instrumental in establishing the Tamarind Institute and the revival of fine - art lithography.

Fifty years and many thousands of prints later, it is difficult to imagine what lithography in the United States would be without the influence of the renowned Tamarind.

Dine has received numerous awards and honors including, most recently, the inaugural Cincinnati Art Award from the Cincinnati Museum of Art (2010); the inaugural Legacy in Lithography Award from the Tamarind Institute, College of Fine Arts, University of New Mexico (2010); the School of the Museum of Fine Arts, Boston, 10th Annual Medal Award (2005); the prestigious Commandeur dans l'Ordre des Arts et des Lettres, Paris (2003); and the Library Lions Award, New York Public Library (2003).