Last Friday, the L.A. Times featured an article on the Norton Simon Museum’s current exhibition, Proof: The Rise of Printmaking in California. Highlighting works from the early 1960s to the late 1980s, the exhibition chronicles the revival of printmaking in the United States.
Marquand Books produced the 256-page exhibition catalogue that was edited by the show’s curator, Leah Lehmbeck. Proof illuminates the history of California’s postwar printmaking boom through essays, illustrations, and a chronology that identifies key people and events of the movement.
Proof: The Rise of Printmaking in Southern California opened October 1, 2011 and runs through April 2, 2012. To learn more about the exhibition, visit the Norton Simon Museum online.
photography by Jeremy Linden
Visit Paper Hammer Gallery this weekend for a preview of the new exhibition, “Paper Jewels,” featuring jewelry transformed from paper to wearable art.
Artists include:
Alejandra Koreck (Buenos Aires, Argentina)
Sabrina Meyns (County Waterford, Ireland)
Sara Owens (Seattle, WA)
Cynthia Rohrer (Oakland, CA)
Midori Saito (Seattle, WA)
Laura Wood (San Antonio, TX)
“Paper Jewels”
Preview dates: Friday, January 13, 2–6 p.m.; Saturday, January 14, 11 a.m.–6 p.m.; Friday, January 20, 2–6 p.m.; Saturday, January 21, 11 a.m.–6 p.m.; Friday, January 27, 2–6 p.m.; Saturday, January 28, 11 a.m.–6 p.m.
Opening reception: Thursday, February 2, 2011, 5–7 p.m.
Paper Hammer Gallery shares space with Marquand Books at 1400 Second Avenue in downtown Seattle.
A new exhibition titled The Artist’s Touch, The Craftsman’s Hand is currently on view at the Portland Art Museum (PAM). Featuring Japanese artwork that spans three centuries, the exhibition showcases a selection of 250 woodblock prints and includes work by Japanese printmaking icons Harunobu and Hokusai. PAM acquired more than 750 prints from collector Mary Andrews Ladd in 1932. Since then, it has grown the collection to 2,500 pieces dating from the late 1600s to the present day. The Artist’s Touch, The Craftsman’s Hand is the first exhibition to feature these works from the PAM collection.
In addition to seeing obscure Harunobu and Hokusai prints, visitors will also be able to view prints on the Great Kanto earthquake in 1923, limited-edition and privately commissioned prints, eighteenth-century actor-prints, and prints inspired by Abstract Expressionism and Op Art.
Marquand Books produced the accompanying exhibition catalogue for The Artist’s Touch, The Craftsman’s Hand. The book was edited by the Arlene and Harold Schnitzer Curator of Asian Art, Maribeth Graybill, PhD. It features more than 250 full-color illustrations and includes essays by Japanese art experts and cultural historians like John T. Carpenter and Laurence Kominz.
The Artist’s Touch, The Craftsman’s Hand is at the PAM through January 22, 2012. For exhibition tickets, visit the Portland Art Museum’s website.
A new exhibition, “Proof: The Rise of Printmaking in Southern California,” opened this month at the Norton Simon Museum. The show features 150 prints, including almost 70 pieces created by artists connected to the Tamarind Lithography Workshop. Launched in the 1960s by June Wayne, the Tamarind Workshop studio in Los Angeles gathered new and seasoned printmakers together to learn and refine skills. At the conclusion of the program, artists took 20 prints of each completed edition and donated prints to be distributed to nine institutions, including the Norton Simon Museum. The museum currently houses a nearly complete print set.
As a result of June Wayne’s vision, the Tamarind Lithography Workshop cultivated an important educational and collaborative environment for lithography while designating a place for modern printmaking through reviving interest in graphic arts. Ultimately, the workshop renewed the art form, garnering recognition and establishing a place for printmaking in the greater art community.
In addition, “Proof: The Rise of Printmaking in Southern California” presents important mid-twentieth-century work from the Los Angeles-based Gemini G.E.L. workshop, founded in 1966.
Distributed by Getty Publications and designed by Zach Hooker, the Marquand Books-produced exhibition catalogue features 200 full-color illustrations throughout its 260 pages. The publication includes essays by established and emerging printmaking professionals and presents work from founding members of the Tamarind Lithography Workshop including June Wayne, Garo Antreasian, Sam Francis, Ed Ruscha, Ed Moses, Richard Diebenkorn, and Ken Price.
Visit the Norton Simon Museum’s website for more information about “Proof: The Rise of Printmaking in Southern California,” featured at the Pasadena, California-based Norton Simon Museum now through April 2, 2012.
Inspired by her book, “The Map as Art: Contemporary Artists Explore Cartography,” Seattle-based curator and author Katherine Harmon is presenting a new exhibition at Marquand Books Studio opening on Thursday, Oct. 6. The show will feature imaginative work inspired by urban landscape, terrain, disputed borders, and dreams from artists based around the United States, including:
Doug Beube (New York)
Karey Kessler (Seattle)
Miranda Maher (New York)
Florent Morrellet (New York)
Matthew Picton (Portland)
Heidi Whitman (Boston)
“Dublin June 16 1904
2011”
created using text from the novel “Ulysses” by James Joyce
64 x 49 in.
photo credit: Rob Jaffe
More details will follow in the coming weeks.
Now on view at the studio:
“Hector Acebes: Portraits in Africa, 1948–1953,” featuring selections from the artist’s extensive travels throughout Africa in the 1940s and 50s. Open until Oct. 1 — Fridays, 2 – 6 p.m., Saturdays, 11 a.m. – 6 p.m., and by appointment.
Opening September 1 in the Japantown area of Seattle’s International District south of downtown is Dirk Park’s Prole Drift gallery. With an established arts pedigree as co-director of Miami’s Art Aqua Art Fair and co-founder of Pioneer Square’s Platform Gallery, Japantown’s bargain rental prices and undeveloped empty storefronts presented Park with the opportunity to begin a new space to showcase art.
The gallery’s name is a shortened version of the term “proletarian drift,” coined in the early 1980s by cultural historian Paul Fussell. The phrase refers to incidents in which upper-class cultural trends and styles become common with working- or middle-class individuals (small-batch whisky, designer jeans) and can be applied in the reverse (punk, Mockney).
Continue reading: “Proletarian Drifting”
The lauded exhibition Picasso and Braque: The Cubist Experiment, 1910–1912 features paintings and an almost complete set of prints produced by Pablo Picasso and Georges Braque throughout a two year exchange.
Marquand Books produced the 136-page exhibition catalogue, designed by Jeff Wincapaw and distributed by Yale University Press. The show will travel to the Santa Barbara Museum of Art next month, opening on Saturday, September 17.
