Precarious balance : a publication on printmaking and print artists PDF
Preview Precarious balance : a publication on printmaking and print artists
This page intentionally left blank This page intentionally left blank P R I NT A PUBLICATION ON PRINTMAKING AND PRINT ARTISTS EDITED BY WALTER JULE V O I CE THE UNIVERSITY OF ALBERTA PRESS PRECARIOUS BALANCE Editor and Designer First published by Editorial Advisory Board Walter Jule The University of Alberta Press Jennifer Dickson Canada Athabasca Hall Arne Isachson Norway Text Editor Edmonton, Alberta, Canada Roger Silvester England Sylvia Vance T6G 2E8 Lawrence Smith England 1990 Andrew Stasik United States Assistants Malgorzata Zurakowska Poland Doris Freadrich Copyright © The University of Alberta Press Beverly Kobelsky 1990 Susan Menzies Brenda Petays ISBN 0-88864-147-8 Kathy Ruckman All rights reserved. No part of this publication may be produced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the copyright owner. Authors have obtained permission from the artists for reproduction of their works. Canadian Cataloguing in Publication Data Main entry under title: Precarious balance (Print voice, 2) ISBN 0-88864-147-8 1. Prints - Technique. I. Jule, Walter, 1940- II. Series. NE865.P73 1989 760'.28 C89-091224-6 Printed on acid free stock © Typesetting by The Typeworks, Vancouver, British Columbia Printed by Printing Services, University of Alberta, Edmonton, Alberta, Canada CONTENTS Acknowledgements VII Introduction IX Jane Young Barbara Z. Sungur's Precarious Balance 1 Otto Breicha Going to the Limit: Prints by Arnulf Rainer 6 Lawrence Smith The Fifty-fifth Japan Print Association Show: Reflections 14 Louise Dery Paul Beliveau's Work in Black 23 Danuta Wrdblewska Connections: Polish Prints and Posters since 1945 28 Roger Silvester Donald Wilkinson: The Gate to the Isles 36 Jim Edwards Derek Besant: New Work 52 Sarah Yates The Dilemma of Definition: The Original Print and the Reproduction 56 Valgerdur Hauksdottir Icelandic Printmaking: Graphica Atlantica 6O Soren Nygard Karen Dugas in Ljubljana: A Review 72 Susumu Sakane Ultra Graphics 79 This page intentionally left blank ACKNOWLEDGEMENTS The first Print Voice was published in 1985 and resulted from a research project un- dertaken with the help of the McCalla Pro- fessorship I was awarded at the University of Alberta. It is continuing due to the en- couragement and support of the many art- ists, curators, and others from over twenty countries, who were kind enough to ex- press their satisfaction with the prototype issue. Balanced reporting on new work from around the world is impossible, of course, and whatever success the Print Voice series might enjoy will be due to the ex- pertise, experience, and sound judgement of the international editorial advisors, on whose enthusiastic assistance I have grate- fully relied. Most especially, I would like to thank the authors and print artists without whom Precarious Balance could not exist. To- gether these international writers and art- ists have created a dialogue between text and image that reflects the diversity of con- temporary printmaking. The beautiful papers used to print the original works by Karen Dugas and Valger- dur Bergsdottir were donated by Woolfit's Art Supplies, Toronto, and the superb relief and intaglio inks were donated by Daniel Smith, Inc., Seattle. The handmade paper box was produced by La Papeterie St. Armand, Montreal, under the watchful and caring eye of its director, David Carruthers. Thanks must go to three of my col- leagues in the Department of Art and Design at the University of Alberta, Marc Siegner and Steven Dixon who printed the original works contained in this edition and David Roles whose help with last minute corrections and additions to the text was in- valuable. In addition, I must also express my appreciation to Susan Menzies for her assistance in layout and paste-up. The interest and support of the University of Alberta Press was crucial to the realiza- tion of the project. Special recognition must go to its director, Mrs. Norma Gutteridge, who has from the beginning shared my en- thusiasm and belief that a special limited edition publication on contemporary print- making could contribute to scholarly study in the fine arts. Thanks also must go to Syl- via Vance for her careful editing of the man- uscript and to Joanne Poon and Mary Mahoney-Robson for their help in design and production. VII
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