Emerging Images: The Creative Process in Prints
The Exhibition inaugurates IPCNY’s 10th Anniversary Season.
Works by sixteen artists will be included in the Exhibition. Each artist will be represented by
several variants of the same printed image, or one or several progressive proofs and a final print of
the same image.
Wendy Weitman is Curator of the Exhibition. In her words: “One of the more fascinating aspects
of printmaking is the flexibility for experimentation that it offers an artist, something unattainable in
drawing or painting….Artists from Rembrandt to Johns have explored the intricacies of printed art.
Changing ink colors, re-using matrices, and recording the evolution of an image are a few of the unique features of printmaking that artists continue to play with today. These distinctive aspects of the medium remain a vital outlet for contemporary artistic thinking and a source for exciting experimentation and creative inquiry. Watching artists work in this manner provides an intriguing glimpse into the aesthetic process….”
Works selected for the Exhibition date from 1893-2009. Arthur Wesley Dow is represented by two of
his nine variations of the woodcut The Dory or Near the Wharf from 1893-95. Two of the five color
variations of Joan Miró’s Série II from 1947 are included in the Exhibition.
Richard Hamilton’s Swingeing London 67, based on an image from the London Daily Mail and
interpreted in different mediums by the artist over the course of several years, is represented by four prints including one etching and aquatint and three screenprints with collage. Carroll Dunham’s linoleum cut First Green Reduction Print is accompanied by six progressive proofs, all from 1994.
An illustrated brochure with a curatorial essay by Ms. Weitman accompanies the Exhibition.
The works are being loaned to IPCNY for the Exhibition from private collections, galleries and
publishers. Among the lenders are Dieu Donné, New York; Hirschl & Adler Gallery, New York;
Grenfell Press, New York; Harlan & Weaver, New York; Lower East Side Printshop, New York;
Matthew Marks Gallery, New York; David Nolan Gallery, New York; Pace Editions, New York, and
World House Editions, Middlebury, Ct. Ms. Weitman is an independent curator and writer based in New York City. She was formerly a curator in the Department of Prints and Illustrated Books at the Museum of Modern Art, where she worked from 1980-2007 curating thematic shows such as Eye on Europe: Prints, Books, and Multiples, 1960- Now, co-curated with Deborah Wye, in 2006, Pop Impressions Europe/USA, in 1999, and monographic exhibitions on contemporary artists such as Kiki Smiith, Jasper Johns and Sol LeWitt. Her recent John Baldessari- A Catalogue Raisonné of Prints and Multiples 1971-2007, co-authored with Sharon Coplan Hurowitz, was released in 2009.
Support for the Emerging Images: The Creative Process in Prints has been provided by The IFPDA
Foundation. A grant from the Robert Lehman Foundation supports IPCNY’s exhibitions programming this season.
Sponsors of IPCNY’s 10th Anniversary Season are The Edward John Noble Foundation, Lily
Auchincloss Foundation, Deborah Loeb Brice Foundation, The Felicia Fund, The Horace W.
Goldsmith Foundation, Hess Foundation, Charles S. Mott Foundation, Reed Foundation, Arthur Ross Foundation, Phillips de Pury and numerous individual donors. Grants from the National Endowment for the Arts, the New York State Council on the Arts—a State Agency, and the New York City Department of Cultural Affairs support IPCNY’s New Prints Program.
International Print Center New York is a non-profit institution dedicated to the greater appreciation
and understanding of the fine art print worldwide. Through innovative programming, IPCNY fosters
a climate for the enjoyment, examination and serious study of artists’ prints—from the old master
to the contemporary. Emerging Images: The Creative Process in Prints is the nineteenth in a series of exhibitions in our Chelsea space interspersing juried presentations of contemporary work. IPCNY offers its members a program of workshop and gallery visits, and has established an informational website and Information Desk available to the public at the gallery. IPCNY depends upon public and private donations to support its programs.