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More importantly, Mo MA's 1944 exhibition confirmed the workshop's status as a central hub of abstract printmaking.
Dorothy Noyes Arms, wife of John Taylor Arms who served as the organization's longtime president, noted poetically that the renamed Society of American Etchers, Gravers, Lithographers and Woodcutters, “rose phoenixlike from the ashes of the old.” These various special sections covered trends and exhibitions in the printmaking world and reviewed new print publications. Sheet: 42.8 x 61 cm (16 7/8 x 24 in.) Yale University Art Gallery, Anonymous Purchase Fund, 1977.10.7 Image courtesy Yale University Art Gallery Art courtesy of the Estate of the Artist and The Susan Teller Gallery, NY, NY.
Even though these magazines sometimes covered print news within the 57th Street gallery reviews, the print sections effectively segregated avant-garde graphic arts from mainstream modernism. Seizing on the opportunities that this explosion of postwar printmaking offered, women artists capitalized on prints' portability by sending their graphic work throughout the United States.
Engaging with recent interest in how American art traveled internationally, this essay will consider the movement of women's Atelier 17 prints and the positive impact of these exhibitions on women's career success.
Drawing on analysis of primary material visualized in charts and on interactive maps produced with Viewshare, an online platform developed by the Library of Congress, this article establishes who and where the major hubs of activity were within this network and what facilitated connections among these nodes.
Under mounting pressure, some of these forums warmed to modern printmaking.
Contemporary Printmaking Essay
For example, the Society of American Etchers conceded in 1947 to open membership to artists of all aesthetic persuasions who practiced printmaking techniques besides etching.
So in 1947, she launched the BKM's National Print Annual Exhibition, which ran continuously for ten years.
Johnson said that starting the print annuals, “was in response to a need for the showing of contemporary and experimental prints within the greater New York area, where much of the experimental printmaking was then being pursued.” Johnson knew that modern prints were anomalies within the era's well-established print exhibitions, which primarily showed small, realistic, black-and-white etchings popular in America since the late-nineteenth century.
You are so easily labeled a printmaker.” In spite of these challenges, women artists boldly pursued connections within the postwar printmaking network, fighting for chances to secure public exposure for their prints and to build relationships with key professional contacts.
This article ultimately constructs a powerful narrative about this active but peripheral subgroup of the New York School.