lithography and tamarind

National Art Education Association

Lithography and TamarindAuthor(s): Clinton AdamsSource: Art Education, Vol. 17, No. 4 (Apr., 1964), pp. 16-18Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190458 .

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LITHOGRAPHY AND TAMARIND CLINTON ADAMS

Photos, courtesy Tamarind Lithography Workshop, 1112 N. Tamarind Ave., Los Angeles, 90028.

Clinton Adams is presently Dean of the College of Fine Arts, The University of New Mexico. He was Associate Director of the Tamarind Lith- ography Workshop during its first year, 1960-61, and now is Program Consultant to its Board of Directors.

There isn't much question but that in the 1940's and '50's lithography in the United States had come on hard times. These were the great decades of the intaglio print, and few lithographs were to be seen in the major exhibitions. Most were by but a handful of artists.

There were several reasons for this, but foremost was the fact that, unlike the circumstances in Europe, the American artist did not have access to an atelier in which he might work collaboratively with a master-printer in the making of lithographs. Historically, an overwhelming proportion of the world's great lithographs have resulted from the joint efforts of a gifted artist and a master-printer, combining their knowledge and skills toward a single goal.

Although the abilities of both artist and printer may be embodied in a single person, such a temper- ament is rare. Too often, the artist who prints his own work either does so badly, or, at the other extreme, becomes so involved in the craft of printing that his work suffers aesthetically. The demands of lithographic printing are such that a man must work for many years to achieve true mastery, and few artists are willing to sacrifice so much time to

General view in the Tamarind Workshop.

Left, Gars Antreasian, right, Clinton Adams.

the requirements of a single medium. There is the further problem of the considerable investment that is required to assemble and maintain a well- equipped shop.

The technical demands of lithography thus led to an unfortunate specialization upon the part of the few American artists working in the medium, while at the same time making it all but impossible for others, including most of our major painters and sculptors, to make lithographs at all. It has been one of the strengths of European art, made possible by the existence of many master-printers' shops, that the distinction between painter and printmaker is all but meaningless there. The great European artists are not "printmakers" in the nar- row sense of the word, and when we think of European lithography it is the work of Redon, Toulouse-Lautrec, Bonnard, Vuillard, Picasso, and Miro that comes to mind. In Europe the artist doesn't have to specialize. When he wishes to make lithographs-or cast in bronze or make a tapestry -the master-artisans are there to assist him.

The Tamarind Lithography Workshop was founded in order that artists in the United States might be able to enjoy the benefits of the European traditions. It came about as a result of the vision and abilities of a single American artist. June Wayne, who had earlier worked with the French master-printer, Marcel Durassier, in Paris, con- ceived the idea that if such a workshop could be established in this country, it might be possible to

bring about a true renaissance of the medium. She

began to work toward this end. The Workshop came into being in the summer

of 1960, financed by a grant from the Program in Humanities and the Arts of the Ford Foundation. It took its name from its location on Tamarind

ART Education



Avenue in Los Angeles. Its first master-printer was Garo Antreasian, a gifted artist-lithographer with

long experience in the medium. Tamarind's stated goal was "the stimulation and

preservation of the art of the lithograph." To ac-

complish this, June Wayne proposed a dual program, involving both artists and printers. Fellow-

ships were established under which leading artists might come to Tamarind for brief periods of time, usually two months, devoting this time entirely to the making of lithographs. Other fellowships pro- vided for the training of apprentice-printers, with the end of creating a pool of master-craftsmen whose existence might make possible a new and vital tradition in the art.

The success of the project has been beyond all

expectations, and it is not extravagant to say that in the three and a half years since Tamarind printed its first edition, the history of American litho-

graphy has been totally rewritten. The medium has been broken free from an unnatural confinement. The more than 900 fine prints that have been pro- duced are of a quality not previously seen in this

country. The artists who have made them include

many of the most distinguished names in Ameri- can art: Josef Albers, Richard Diebenkorn, Sam Francis, John Paul Jones, Rico Lebrun, Jacques Lipchitz, Robert Mallary, Louise Nevelson, Ray- mond Parker, Bernard Rosenthal, Esteban Vicente, Emerson Woelffer, and Adja Yunkers-to name but a few.

Equally important has been Tamarind's success in training printers. Already a number of the men who have worked at Tamarind have opened their own workshops, making professional services available to all artists who would use them. Beyond this, Tamarind's technical research is developing new knowledge and understanding of the litho-

Left, Richard Diebenkorn, untitled lithograph. Right, Emerson Woelffer, untitled lithograph.

Josef Albers studies proofs printed at Tamarind.

graphic materials and of fine printing from materials and of fine printing from metal plates and stones.

Despite its clear advantages, the collaborative relationship is not without its problems. Few artists in the United States have been accustomed to working in this way, and although most adapt to the new relationship easily, for some it is difficult. A spirit of warm rapport and mutual respect is an essential condition to successful collaboration, and the arrogant or demanding artist cannot hope to achieve it. Other artists may long for greater priva- cy than workshop conditions can provide.

Although the artist may depend upon appren- tices for the graining of his stone and upon his printer for etching and printing it, such assistance cannot be expected to compensate for inadequacies in his own work. The artist must himself develop a mature understanding of the lithographic process, so that he will be able to respond sensitively and surely to his materials and the stone, and so that he will know what he may properly expect of the printer as work progresses at the press.

The task of the printer is to realize the artist's intention as fully as he possibly can. He must detect the true spirit of the work and give it life, while at the same time avoiding any act which might tend to impose his own aesthetic upon that of the artist. Gradually, in this way, through the effort of both printer and artist, a full collaboration is established: a complex interrelationship which provides the ideal circumstance for the creation of truly fine prints.

The superb suite of ten color lithographs by Josef Albers, working with printer Kenneth Tyler, is but the most recent example of the magnificent works of art that Tamarind has made possible. There can now be little doubt that the new tradition which Tamarind has established will not easily be lost, and that lithography, as a result, has not only an exciting present but a promising future as well.

April 1964 17

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June Wayne, "Cornelia's Bird", lithograph in black Sam Francis, "Untitled," color lithograph, 1963. and white from zinc. June Wayne, "Cornelia's Bird", lithograph in black Sam Francis, "Untitled," color lithograph, 1963. and white from zinc.

Edward Landon, born in 1911 in Hartford, Con- necticut, studied at the Art Students League and in Mexico. He is a charter member of National Serigraph Society and a member of the American Color Print Society, Boston Printmakers and Phil- adelphia Print Club.

Serigraphy is the employment of the silk screen process as a fine art. The term was coined jointly by Carl Zigrosser, print authority, and Anthony Velonis, artist. The history and development of serigraphy is by now well documented. Briefly, it was first used in 1938 to produce limited editions of creative color prints under the administration of the Federal Arts Project. A number of artists in- spired by the possibilities envisioned in this brand new creative medium formed a group to hold exhibitions and promote wider knowledge of it. The pioneer work performed by this association of artists, first identified as the "Silk Screen Group" and later as the "National Serigraph Society," led to the introduction of serigraphy to the print world as a creative medium in its inclusion with other print media in the graphic arts field.

Serigraphy bears the unique distinction of being the one truly American contribution in the fine arts field, having been discovered and evolved in this country by American artists. It is further distinguished by its having broadened the field of creative expression through its spontaneous adoption by European artists, and through the circulation of international exhibitions.

As in lithography, the silk screen process was

Edward Landon, born in 1911 in Hartford, Con- necticut, studied at the Art Students League and in Mexico. He is a charter member of National Serigraph Society and a member of the American Color Print Society, Boston Printmakers and Phil- adelphia Print Club.

Serigraphy is the employment of the silk screen process as a fine art. The term was coined jointly by Carl Zigrosser, print authority, and Anthony Velonis, artist. The history and development of serigraphy is by now well documented. Briefly, it was first used in 1938 to produce limited editions of creative color prints under the administration of the Federal Arts Project. A number of artists in- spired by the possibilities envisioned in this brand new creative medium formed a group to hold exhibitions and promote wider knowledge of it. The pioneer work performed by this association of artists, first identified as the "Silk Screen Group" and later as the "National Serigraph Society," led to the introduction of serigraphy to the print world as a creative medium in its inclusion with other print media in the graphic arts field.

Serigraphy bears the unique distinction of being the one truly American contribution in the fine arts field, having been discovered and evolved in this country by American artists. It is further distinguished by its having broadened the field of creative expression through its spontaneous adoption by European artists, and through the circulation of international exhibitions.

As in lithography, the silk screen process was

EDWARD LANDON

employed commercially before being adopted as a fine print medium. This necessitates some clarifica- tion to define the process in the fine arts as distinct from its commercial uses. However, because it is the newest major graphic arts form, it lacks wide familiarity and evokes considerable interest and some general misconceptions.

To describe serigraphy as "basically a stencil process" is to employ a cliche. This oversimplifica- tion has reference only to the early silk screen process. As creative expression, serigraphy can be complex or simple-as the artist desires. Extremely varied results are achieved using tusche, a greasy, black, ink-like liquid, with a brush or pen, or in stick form. There are an infinite variety of ways to produce individual color separations, as well as variations within each separation. This is not to imply that exceptional technical skill is required to learn the medium. Any professional artist or serious student attracted to printmaking as a creative expression can learn to produce an edition of fine prints. Following is a check list of basic professional materials and equipment for producing serigraphs. Total cost is about $20. 1. Printing frame covered with #12 silk screen

silk (bolting cloth) hinged with removable pin hinges to a wooden board called the printing bed. (Size of the screen is at the discretion of the printmaker, as difference in cost and/or labor relative to size is negligible. A screen measuring 24" x 30" is large, and experience in the medium should be the criterion for attempt- ing to handle large areas. The frame should be

EDWARD LANDON

employed commercially before being adopted as a fine print medium. This necessitates some clarifica- tion to define the process in the fine arts as distinct from its commercial uses. However, because it is the newest major graphic arts form, it lacks wide familiarity and evokes considerable interest and some general misconceptions.

To describe serigraphy as "basically a stencil process" is to employ a cliche. This oversimplifica- tion has reference only to the early silk screen process. As creative expression, serigraphy can be complex or simple-as the artist desires. Extremely varied results are achieved using tusche, a greasy, black, ink-like liquid, with a brush or pen, or in stick form. There are an infinite variety of ways to produce individual color separations, as well as variations within each separation. This is not to imply that exceptional technical skill is required to learn the medium. Any professional artist or serious student attracted to printmaking as a creative expression can learn to produce an edition of fine prints. Following is a check list of basic professional materials and equipment for producing serigraphs. Total cost is about $20. 1. Printing frame covered with #12 silk screen

silk (bolting cloth) hinged with removable pin hinges to a wooden board called the printing bed. (Size of the screen is at the discretion of the printmaker, as difference in cost and/or labor relative to size is negligible. A screen measuring 24" x 30" is large, and experience in the medium should be the criterion for attempt- ing to handle large areas. The frame should be

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