the power of printmaking in the contemporary art scene

Result #1

the power of printmaking in the contemporary art scene is present in the work of all three artists. Their works reveal the intense power of printing processes and the potential of material under pressure.The most astonishing of the three is Werner F. Gänglings painting Tetrumpheater. The surface is so finely, cleanly made that the image seems to dissolve into the thickness of the surface, while at the same time it seems to give off a very nice sense of texture. In other words, the image seems to melt into the thickness of the world. He actually painted this image on canvas and hung it on the wall. However, in his use of thin lines, the impression of volumetric thickness is replaced by a faint tactile presence. The image is comprised of ten seemingly unrelated units, which the viewer must constantly explore to obtain a complete picture. The symmetrical appearance of the images and their relationship to the wall are fully investigated in a number of different ways. In one of the paintings, a striped-striped pattern of strips of white paint covered the surface of the canvas. In another, a white line covered a deeply speckled surface. The viewer was supposed to scan the surface to see the stripes. The lines were usually made from paper, but this paint was rubbed over the surface to produce the speckled look. The last work by the trio involved a deep, opaque blue acrylic layer over a troweled, grayish surface. The blue paint gave the appearance of being scattered, creating a kind of foggy and time-like atmosphere, while the grayness provided a visual analogue for the cold and hard physical surface of the paper.In the last painting, a single pattern of four stripes appeared on the wall. The stripes, made from the same black-and-white-color material as the stripes, were like a single moving point in the sky, indicating the instant of impact, like a meteor or a cloudburst. The work represented a kind of spiritual experience.

Result #2

the power of printmaking in the contemporary art scene. Frankfurter and her contemporaries did not dismiss the medium but, rather, labored with the machines and materials that it offered. Some of her greatest works, including her coat of olive-green oil paint, her ornate textile and jewelry designs, and her various landscapes and sepia-toned motifs, are inspired by photography. Frankfurters hands were also remarkably tactile, often tending to create a tangled web of marks. In one, the artist applies paint to a rectangle of fabric, then pulls off the final coat of paint. In another, she throws the wet material out into the air; the end result is an increasingly surreal landscape of tendrils and hair.There is a clever playfulness to all this work, which posits the role of a close friend and is steeped in a particular world view, from the avant-garde to the present. Frankfurters use of patterns, in particular, evokes the movies of the 60s and 70s, but the artist has also made use of self-styled feminist icons like Diane Arbus. Her art is also fueled by a romance with a style she calls the philistine, a literary genre which she describes as the most underappreciated art of our day. The beautiful ornament of her digital assemblages can be seen in the context of female icons like Peggy Grannan and Margaret Mitchell, while her use of hand-made paper strips is reminiscent of that of Art Nouveau. In these and other images, a sense of intimacy and grace is evoked. It is, of course, as much about the internal and the social as it is about the external, the corporeal and the heavenly.Frankfurters work has an iconographic quality, a threading of connections through time and place.

Result #3

the power of printmaking in the contemporary art scene, that both provide a common source of inspiration and are always at home to contemporary images. Although the vast majority of the works in the exhibition were derived from printmaking techniques, there were some that are literally formed from the masthead of a printing press. Here was a particularly powerful and colorful specimen of blue-chip printmaking.Here, a little over two years after his last New York show, was the second and final exhibition of Carlsons work at the Gallery of Modern Art. The initial events of Carlsons work in the 40s and 50s at the Center for American Fine Arts were not only opposed to those of painting but also opposed to the fashion for post-Modern painting, which, at least from the beginning, had argued that only the best of painting were good. Carlsons first painting was a small study for his book New Directions in Art and Design (1929) and he worked as an engineer and planter for the American Board of Trade. The very titles of the early works (e.g. New Roads, New Roads and New Roads, New Roads and New Roads) reveal their deep and vivid memories of the New World, of the new world in which reality was redefined.There is an extraordinary naiveté in the way Carlsons work is displayed in this show. His prints are sharp and descriptive in the way they are flat, smooth, and often filled with hidden meanings. He is also no archivist or antiquarian, and despite his publication of twenty-one works he is hardly a master of his medium. While the still lifes and watercolors have a very personal meaning, their simplicity and their reserve are not. Carlsons work is full of paradoxes, most of which the viewer cannot see. In his most recent works, he seems to be making figurative images of everyday objects, but in this exhibition it was impossible to classify them accurately.

Result #4

, they were especially effective in capturing his captivating vision of the art of the period, in which a streamlined and subtle cast of bronze was layered with exaggerated-concealed metal, meant to signify a relatively lightweight but immaculate surface. With his two-part V-form, 1948–50, exhibited here, Ilias developed a series of images that, like the ubiquitous masks and cowls of Surrealist painting, are inspired by the pictorial illusion of reality but done with a body of applied art history to represent a deeply personal vocabulary of sensibility.

Result #5

the power of printmaking in the contemporary art scene is far from established. For example, I am not convinced that the power of printmaking is given to the print artist by the museum. I am convinced that the print artists print makers have a tremendous amount of power, not only in regard to their materials but also in regard to their ideas. At the same time, printmaking makes great use of photography. I am a photographer who uses photography to make painting, not only to make painting but also to make photography. But I am not a photographer who makes painting by simply using photography. Painting, as a photographic technique, does make great use of information, in fact, many of the photographs are very interesting. But the very fact that photographs do make use of information is a proof that photography is not a novel technology, that photographs are not a new technology but that there is an amount of information that photographs can provide. In fact, photographs provide a number of social and psychological effects. The photography is always used as a device to engage the viewer in a behavior or a situation that the camera can handle well. The individual photographs usually take on a certain pattern, so that it is hard to distinguish between one photograph from another, but this pattern is never predictable, never controlled, never predictable. When you are in a situation like that, what you see is what you see, and what you see is what you see. Photography is a way of understanding both your own world and society, and there is an ability to understand both at the same time.When you are in a situation like that, what you see is what you see, and what you see is what you see. Nowadays, even in photography, the whole process of perception is a technique, and this technology is still in evidence in the forms of the photograph. By the way, I am not trying to be a tourist, or to say that photography is not there, only that you dont know what you are looking at.