MATRIX: CONTEMPORARY PRINTMAKING

OCTOBER 9 - NOVEMBER 22, 2009

Fall 2009

Table of Contents
Introduction: Letter to Educators. 2 Sunshine State Standards 3 Part 1: Obtaining a General Knowledge of Printmaking
Printmaking Past:

Printmaking Timeline.. 6 Different Types of Printmaking and How They Work.... 7 Different Uses for Printmaking throughout History. 9
Artist Biographies:
Works from these artists will not be in the exhibition; they are examples of great printmakers

Albrecht Durer.12 Rembrandt Van Rijn .13 Francisco Goya..14 Katsushika Hokusai...15 Andy Warhol...17 Part 2: The Museum of Fine Arts Exhibit Information How Technology Has Changed Printmaking... 20 How Museums Have Embraced Modern Printmaking... 22 Artists Biographies.. 23 Part 3: Lesson Plans Pop Art Food.. 30 Relief Printing with Styrofoam .... 33 Im a Little Culturist and Printmaker....... 38 Color, Color Magic Power.....42 Roger Shimomura and the Battle Against Racial Discrimination...47 Part 4: Helpful Information Glossary.52 Image List... 54 Bibliography 56

Fall 2009

LETTER TO EDUCATORS

Dear Leon County Educators,

The Florida State University Museum of Fine Arts would like to invite you to attend our upcoming exhibit. The exhibit will be held in the Fall of 2009, and it will highlight the print collection that the Museum of Fine Arts possesses. It will also include prints from outside artists. This packet will focus on the different types of prints, different uses of prints, and it will also explore the differences between printmaking throughout history and today. During the exhibit the museum will be offering guided tours and events to help educators teach their students about the museum and the exhibit. For tours and group information, contact Viki Thompson Wylder at (850) 6441299. In this packet you will find a wealth of information to help you prepare your students for a trip to the museum, or simply just spend a day teaching them about printmaking. The packet includes informational articles, artist biographies, lesson plans, a glossary of terms, and a list of prints being included in the exhibit. All images included in this packet are for educational use only. This packet is in accordance with Floridas Sunshine State Standards, and we hope it will be helpful to you in your classroom.

Hannah Dahm Michele Frederick Morgan Jones Cosette Lin Bethany Bussell
And

Bri Regis
Museum Education Program Florida State University Museum of Fine Arts

Fall 2009

SUNSHINE STATE STANDARDS

Visual Arts Pre K-2 The student uses two-dimensional and three-dimensional media, techniques, tools, and processes to depict works of art from personal experiences, observation, or imagination. The student understands that works of art can communicate an idea and elicit a variety of responses through the use of selected media, techniques, and processes. The student knows that specific works of art belong to particular cultures, times, and places. 3-5 The student knows the effects and functions of using various organizational elements and principles of design when creating works of art. The student understands what makes different art media, techniques, and processes effective or ineffective in communicating various ideas. The student develops and justifies criteria for the evaluation of visual works of art using appropriate vocabulary. 6-8 The student creates two-dimensional and three-dimensional works of art that reflect competency and craftsmanship. The student knows how the qualities and characteristics of art media, techniques, and processes can be used to enhance communication of experiences and ideas. The student understands and uses information from historical and cultural themes, trends, styles, periods of art, and artists. 9-12 The student uses two-dimensional and three-dimensional media, techniques, tools, and processes to communicate an idea or concept based on research, environment, personal experience, observation, or imagination. The student knows how the elements of art and the principles of design can be used and solves specific visual art problems at a proficient level. The student understands critical and aesthetic statements in terms of historical reference while researching works of art. Language Arts Pre k-2 The student uses knowledge and experience to tell about experiences or to write for familiar occasions, audiences, and purposes. The student listens for a variety of informational purposes, including curiosity, pleasure, getting directions, performing tasks, solving problems, and following rules. The student recognizes that use of more than one medium increases the power to influence how one thinks and feels. 3-5 The student prepares for writing by recording thoughts, focusing on a central idea, grouping related ideas, and identifying the purpose for writing. The student writes notes, comments, and observations that reflect comprehension of content and experiences from a variety of media. The student understands that word choices can shape reactions, perception, and beliefs.

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SUNSHINE STATE STANDARDS

6-8 The student understands how idiomatic expressions have an impact on communication and reflect culture, by using them correctly in both oral and written form. The student understands selected economic, political, and social events that have shaped the target culture and its relationship with the United States across time. 9-12 The student selects and uses appropriate prewriting strategies, such as brainstorming, graphic organizers, and outlines. The student organizes information using appropriate systems. The student understands specific ways in which language has shaped the reactions, perceptions, and beliefs of the local, national, and global communities. Social Studies Pre k-2 The student compares everyday life in different places and times and understands that people, places, and things change over time. The student understands that history tells the story of people and events of other times and places. The student understands the significance and historical contributions of historical figures during this period (e.g., the journeys of famous explorers). 3-5 The student understands how individuals, ideas, decisions, and events can influence history. The student uses a variety of methods and sources to understand history (such as interpreting diaries, letters, newspapers; and reading maps and graphs) and knows the difference between primary and secondary sources. The student understands various aspects of family life, structures, and roles in different cultures and in many eras (e.g., pastoral and agrarian families of early civilizations, families of ancient times, and medieval families). 6-8 The student understands how patterns, chronology, sequencing (including cause and effect), and the identification of historical periods are influenced by frames of reference. The student knows the relative value of primary and secondary sources and uses this information to draw conclusions from historical sources such as data in charts, tables, graphs. The student understands the impact of significant people and ideas on the development of values and traditions in the United States. 9-12 The student understands how ideas and beliefs, decisions, and chance events have been used in the process of writing and interpreting history. The student identifies and understands themes in history that cross scientific, economic, and cultural boundaries. The student understands how social, cultural, economic, and environmental factors contribute to the dynamic nature of regions.

Fall 2009

PRINTMAKING PAST:
OBTAINING A GENERAL KNOWLEDGE ABOUT PRINTMAKING

Emory Adams Old-Style Screw Printing Press Woodblock, 1919

Fall 2009

Printmaking TimeLine

105 AD Paper is invented in China. 1380 The earliest known woodcut in Europe is made: The Bois Protat. 1420-30 Silversmiths and armorers begin to reproduce decorative engravings from metal plates, making the first printed engraving. 1439 Johannes Gutenberg produces the first printing press. 1497 The Apocalypse is published by German artist Albrecht Durer.
The printing press A silversmith carving into a metal surface to create a design

1839 An early photographic process called daguerreotype in invented by Louis Jacques Mande Dauguerre. 1852 William Henry Fox Talbot patents an early version of the photographic printmaking process. 1880-90 Four-color process printing is invented. 1896 Aluminum and zinc begin to replace limestone in the lithographic process. 1906 Offset lithography is invented in America. In this process the image is transferred from a plate, to a rubber blanket, and then a printing surface. 1960 Automatic electrostatic copiers become widely available. 1964 Andy Warhol prints Brillo Boxes.
Andy Warhol with Brillo Boxes

1513 Possibly the first etching is produced by Swiss artist Urs Graf. 1653 Rembrandt creates the etching The Three Crosses. 1796 German playwright, Alois Senefelder, discovers lithography. 1796-98 Francisco Goya produces the series of prints Los Caprichos.
Francisco Goya, Los Caprichos: Volaverunt, 1796-98,

Fall 2009

Different Types of Printmaking

and How They Work

There are many variations in the way prints are produced. Many involve complex, nocuous, and expensive chemicals. There are also common ways prints can be produced with everyday materials, such as wood block or even fruit. The four main categories of printmaking are: relief printing, intaglio, planography, and stenciling or serigraphy. These four main types have both complex and simple ways in which they can be accomplished. Each of these categories may have differing methods, but they all have one main goal, producing multiple copies from one master image. Relief Printmaking: This is the oldest type of printmaking, and includes the invention of movable type. A very simple, modern example of a relief print would be the image produced when using a rubber stamp. Typically throughout history relief printmaking is produced with a woodcut, but today anything where the image is raised from the surface will produce a relief image. In Japanese woodcuts, multiple blocks would be produced, allowing for each block to add a different color to the image. Woodblocks have been produced by artists such as Vincent Van Gogh, and many Japanese printmakers including Hokusai. To create a woodblock without having expensive equipment, or toxic chemicals, a soft piece of wood can be used. The wood around the image is removed leaving only the raised edges that are desired to create the image. Relief images can also be produced using various fruits and vegetables. By cutting them open to reveal the different textures inside, and applying ink, the varying heights of the fruits flesh and seeds will produce different images. Relief prints can also be made with Styrofoam as a substitution for wood. acids. Ink is then forced into the removed lines, and the rest of the surface is wiped clean. The plate is then forced through a press, or held tightly together with a sheet of paper. The force then transfers the ink onto the paper creating a mirror image. This form of printmaking was used by famous artists such as Albrecht Durer and Pablo Picasso. Such printmaking today is used mainly in the creation of currency.
Albrecht Durer Rhinoceros etching print, 1515

Creating an Intaglio print can be more difficult than a relief. The process can be adapted but there is still the need for sharp tools and a fairly rough, nonporous surface plate. Etching can be simulated be using a softer material like Styrofoam, and incising into it with a pencil, or similar object. Ink can then be applied onto the surface the same as with metal or Plexiglas plates. When transferring the image to paper, less pressure is applied, to compensate for the fragile nature of the Styrofoam. Hokusai Planography: The Great Wave off Also known as lithography, Kanagawa woodcut print, printing during this process is transferred 1823-29 from a flat surface onto another flat surface. Intaglio: Lithography began with an interest in Pronounced in-TAL-yo, this type of controlling chemical printing from stone. Now process is also known as etching. These prints lithograph prints can be produced from stone are made using the opposite of relief, by plates, and from various types of metal plates. scratching the image into the plate, typically made of metal or Plexiglas. This can be done with a sharp object, or as with etching, with 7

Fall 2009

Different Types of Printmaking

and How They Work

The process of creating a lithograph involves using oil crayons, water, acid and ink. An image is created on the stone or metal plate using the oily crayon. Then water is applied to the plate. The water is repelled from the oil and when ink is added to the plate, the oil based ink is repelled from the areas that are wet from the water, allowing only the drawn lines to soak up ink and produce a print. In more advanced forms of lithography acid is used to prevent the ink from moving to other parts of the plate, by creating a stronger barrier then water. When attempting to create a lithograph with color, the process is very similar to that of color wood block prints, or relief printing. Multiple plates are produced, each one for a color intended to be added to the print. They are layered onto the paper. This form of printmaking allows for a large amount of prints to be pulled, making it the more popular choice for modern artists, like Eugene Delacroix, Henri de Toulouse-Lautrec, and Edouard Manet.
Henri de ToulouseLautrec color 1895 May Milton lithograph,

but it is possible with the correct ink and printing paper. Serigraphy: Most well known as stenciling, this method is the most used among students and non-artists. Stencils can be made from paper, plastic, fabric, metal, or almost any material. The design is removed from the material, and then ink is rolled over the opening to make a print.
Andy Warhol Campbells Soup Cans silk screening on canvas, 1962

Producing a lithograph without much expensive equipment is difficult. It is possible however to demonstrate the basic principles of lithography with ease. The main principle is the basic chemistry of oil and water. Using a sturdy piece of metal, an image can be produced with an oil crayon; a Crayola crayon will do the trick. Once the image is drawn, the metal can be held at an angle, and water poured from the top down. This will show how the water is repelled from the waxy image. Using this method to create a print may take more steps,

This method of printmaking has existed for many years. Stencils are used in the fine arts but also in the commercial arts. Stenciling has also developed into an art form that is utilitarian, proving to be an asset in anything from decorating walls, to creating unique designs for T-shirts, known as silk screens. Andy Warhol is known for having used stencils and silk screens to complete his famous representations of Campbells soup cans. Many famous artists used stencils to help them plan their works, for example Michelangelo, who used a stencil to outline his plans for the Sistine Chapel in Rome. Although these examples dont result in prints in the technical sense of the word, they do assist the artist in making multiple copies of one image, which is the essence of the idea of printmaking. Creating stencil prints is one of the easiest forms of printmaking to do without a large amount of equipment. Simply begin with a material that will block the ink, and not allow it to permeate onto the print except in the desired places. This can include cardboard or poster board, and non-cotton fabrics. Then remove the image from the material to create the stencil. At this point the medium in which the print can be created is very open. Paint, ink, or a simple pencil can be used.

Fall 2009

Different uses for Printmaking

Throughout History

Before there was photography, computers, the internet or television, our only means of mass communication was through printmaking. Prints have a long and diverse history, beginning long before the Common Era. Before Printmaking was Art In ancient times, as in Ancient Egypt, Ancient Rome, Babylonia, and Ancient China, different types of stamps were made to produce official seals. These could be considered the first relief prints, although they were not made to be admired as art. With the invention of block book printing, mass produced text came about, and made communication easier. The Printing Press With the invention of the printing press and movable type in the 1400s, printing books became quicker and more efficient than ever before. With the printing press, books became more affordable and the literacy rate in Europe grew. With the invention of the printing press, a canonized set of books could be produced, which included the Bible, but the printing press also canonized the production of money allowing for standardized paper money to be produced. The printing press gave scientists a way to share their information more freely, and helped spread their ideas.
16 century printing press
th

process is still lithography, but with adaptations to allow for quicker, more efficient printing. This type of printing may not specifically qualify as art, but the mass communication of news and events brought communities together. Newspapers are now a staple in our society, and they are printed in largely the same manner that they have been for hundreds of years. Printing Money Most individuals would not consider money as art, but when considering that money is made using the intaglio process, they might reconsider. The process of creating the plates and designing the money for Uncut sheet of $1 each country is complex, US bills and includes many artists and designers. The United States currently produces money with a high-speed press, similar to that which creates newspapers. This use of printmaking is an example of the exact reason why printmaking was invented and perfected, mass production and accessibility to the masses. Printmaking as Art Printmaking as an art form has been around almost as long as printmaking for other purposes. It is in human nature to create art, and when given a new medium with which to work, people have always embraced it. Printmaking for arts sake is commonly believed to have begun in the Far East. Woodcuts appeared as early as 100 A.D. after paper was invented. Printmaking arrived in Europe in the 1400s and took the artists there by storm. Artists in northern Europe became very adept at creating prints, and carried this tradition throughout the continent. Many prints were produced to create awareness regarding a specific event, or to make an artists work more accessible to the public. Any number of images were produced including religious 9

The Newspaper With the invention of the printing press, it was only a short time until the mass production of newspapers began. With a rotary printing press, the plate is curved around a cylinder, to allow printing on a continuous sheet of paper. The basic

Fall 2009

Different uses for Printmaking

Throughout History

images, political images, scientific drawings, or even humorous images, which we might consider cartoons today. Art with a Statement

Francisco Goya Disasters of War: It Always Happens 1810-1820

Many times prints were produced to make the artists thoughts clear. An artist could make a statement about the current rulers, or war, or the division between the upper class and lower class. And producing these images as prints allowed artists to spread their views quickly. Francisco Goya completed a series of prints in which he protested the war going on in Spain during his time. Honore Daumier completed prints in which he made comments about the political unrest in France during his time. Rembrandt made prints to represent his religious views. The ease with which prints could be mass produced allowed for the free flow of their political ideas into the public consciousness. Japanese Printmaking Printmaking in the Far East has been a long-standing tradition. Printmaking in Japan took on a unique style of its own, and is one of the most recognizable styles in art.
Yoshida Hiroshi Night Scene After the Rain 1925

religious ones. The technique used was woodblock printing, which continued into the modern era. Artists such as Hokusai and Hiroshi designed multiple blocks, to create prints with color. As the centuries progressed, the artists became more skilled, and were able to include intricate color details. Japanese prints had a strong influence on European prints in the 1800s and 1900s. When Japan began to increase trade with Europe in the later nineteenth century, the style began to show up in western prints and in the works of the Impressionists. This was actually mostly accidental, as Japan was not exporting the prints specifically, but rather using the prints to wrap the delicate porcelain they were exporting, much in the way we use old newspaper to wrap dishes today. This coincidence created one of the strongest influences of outside art on the Impressionists, including Manet, Monet, Cassatt, and Renoir.
Mary Cassatt The Bath 1891

Printmaking in Japan began largely the same way printmaking began in Europe, as a means to reproduce documents, specifically

Modern Printmaking Printmaking today takes on many forms and covers a wide variety of purposes. With the advancement of digital images, traditional printmaking has become almost strictly an art form, rather than a form for mass communication. Many modern fine artists use printmaking to develop works. Screen-printing, which only developed recently, is widely used as a commercial printmaking process today. Technology has advanced enough that printmaking can still be used, but the process can require little or no human involvement, as is the case with printed newspapers, and printing money. 10

Fall 2009

ARTISTS BIOGRAPHIES:
A SELECT HISTORY OF PRINTMAKING

Israhel van Meckenem The Artist and His Wife, Self-Portrait Engraving, 1490

This Artist Biographies section provides examples of famous printmakers throughout history. These artists represent different types of printmaking, different styles, and different uses of prints overtime. Exposing students to these artists gives them a foundation in printmaking. The images shown here, and the artists discussed, will not be in the exhibit at the Museum of Fine Arts. Rather, they provide a background for the exhibit on display which will include more contemporary works, as well as selections from the permanent collection.

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Artists Biographies

Albrecht Durer
Albrecht Durer was one of the most influential printmakers of his time. His father was a goldsmith, as well as his godfather, but his godfather left to become a printer and publisher the year Durer was born, 1471. His godfather became one of the most successful publishers in Germany and owned twenty-four printing presses. This probably had an influence on Durer, sparking his interest in printmaking. At age fifteen Durer became an apprentice to a local artist in Nuremburg, Michael Wolgemut. He had a large studio which produced many woodblock books. This is the studio where Durer learned how to make woodblock and dry point prints. Albrecht Durer, Self-portrait at In 1494, at age 23, Durer got married to Agnes Frey, a 28, 1500, oil on panel daughter of an important brass worker. They had no children throughout their marriage. In 1494 Durer took his first trip to Venice, Italy to study more advanced artists. He stayed for a year and went back to Nuremburg to open his own workshop. Over the next five years his style began to merge Italian influences with underlying Northern forms. The first few years at his workshop he produced mostly woodblocks of religious subjects. He also trained himself in the difficult task of using the burin to make engravings. He also became fascinated with proportion. He actually studied it intensely for the rest of his life. His etching of Adam and Eve shows his attention to proportion. In 1505 he returned to Italy to work on painting. By this Albrecht Durer, St. Jerome in time his etchings had gained a tremendous amount of His Study, 1514, etching popularity and were being copied by other artists. In 1507 he returned to Germany. By this time he was well established and had good relations with most major artists like Raphael and Titian. From 1513 to 1514 Durer created his three greatest achievements in printmaking; Knight, Death, and the Devil, St. Jerome in His Study, and Melencolia. After that he did work for Emperor Maximilian. In his later years, Durer wanted to create a unique print as a means to celebrate his achievements. Durer made The Triumphal Arch; to this day this work is still the largest woodblock print. He used 192 woodblocks to make it. Around 1520 Durer became a follower of Martin Luther. After this his work seemed to focus more on religious subjects. He was still a man of curiosity and wrote four books on human Albrecht Durer, Melencolia, nature. Sadly the books were published a few months after 1524, engraving his death in 1528. Even today Durer is respected as one of the greatest printmakers.
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Artists Biographies

Rembrandt
Rembrandt was born in Leiden, the Netherlands in 1606. He was the ninth child of a well-to-do family. He was always interested in painting and as a young boy had an apprenticeship with Jacob van Swanenburgh, a local history painter, with whom he spent three years. Around 1624 he opened his own studio in Leiden with a colleague and friend, Jan Lievens. He produced small detailed paintings with religious themes. In 1627 he started to accept students. Eventually, he wanted a bigger city with more to offer so he moved to Amsterdam in 1631. Here he Rembrandt, Self-portrait in Cap practiced professional portraiture and stayed with an art with Eyes Wide Open, 1630, dealer who introduced his cousin, Saskia van Uylenburg, etching to the artist. Rembrandt married her in 1634. During this period he made much larger paintings and they were very dramatic and full of movement. He still painted biblical stories but also some mythological ones. In the late 1630s Rembrandt started to make fewer paintings and more etchings of landscapes. His work seemed to be less eccentric, most likely because he was in mourning for three of his children who died in the late 30s. His wife followed in 1641. His works of her on her death bed are some of his most personal and moving. In the late 1640s Rembrandt started a relationship with Rembrandt, Landscape, 1640, etching his maid, Hendrickje Stoffels. With her he had a little girl but they never married. Rembrandt had always been a frivolous man with his money. He bought up artwork and eventually he went bankrupt in 1656. He was forced to sell all his possessions including his printing press. After he was forced to sell his printing press he never did printmaking again. To help in the hard times Hendrickje and their only surviving child, Titus, started an art dealing business and Rembrandt became an employee. For the rest of Rembrandts life he had a steady flow of commissions but he never regained his financial stability. He outlived both Hendrickje and his son and was left with his baby daughter. Rembrandt died a few months after Rembrandt, The Three Crosses, 1653, Titus in 1669. He left behind one of the biggest collections dry point and burin of artwork, including around 400 etchings and over 600 paintings. Still to this day he is considered one of the greatest European painters and printmakers and the most important in Dutch history. 13

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Artists Biographies

Francisco Goya
Known as the last of the old masters, and the first of the modern artists, Goya inspired many artists with his determination and talent. He was born in Fuendetodos, Spain in 1746 to a family that displayed his mothers crest. His father, on the other hand, was a guilder. At fourteen Goya secured an apprenticeship with Jose Lujan. Later he moved to Madrid where he studied with Mengs, a German artist whose work was a pre-curser to neoclassicism. As his art developed he started to enter competitions. In 1763 and 1766 he submitted his art to the Royal Academy of Fine Arts but was rejected. He then traveled to Rome where he entered a painting competition and won a Franciso Goya, Self Portrait, 1792-93, brush and gray prize for his work. wash on paper Goya then returned home and started studying with Francisco Bayeu y Subias, a neo-classical painter who focused on religious subjects. During this time Goyas paintings started to develop and he gained his own style. He was bold with his paintbrush and liked to make bold marks. In 1774 he married Josefa, Bayeus sister. He was made a court painter to Charles the Third in 1786 and stayed in that position for quite some years. In 1792 his life took at turn for the worse. After a high fever Goya was left deaf. He did not let that stop him; in fact he succeeded even more. In 1799 he was made the first court painter to Charles the Fifth. On his own time Goya started to make a series of aquatint etchings about the French Revolution and the philosophy behind it. The aquatints contain disturbing content. Captions let the viewer know what they are about. An example of such a caption reads, The sleep of reason produces monsters. The series was published in 1799 under the name Caprichos. In 1800-1814 the French invaded Spain in the Peninsular War. This war sparked inspiration for Goya. He painted The Third of May 1808 and another aquatint etching series named Disasters of War. This series was very brutal and was not published until 1863 due to the controversial subject matter. His wife died in 1812. Goya moved in with his housekeeper in 1814, with whom he is Francisco Goya, Los Caprichos: thought to have born a child. Toward the The Sleep of Reason Produces Monsters, 1796-98, aquatint and last years of his life he wanted to be etching isolated so he moved to a house in Manzanares. The house was named Quinta del Sordo, The House of the Deaf. This is where he made his Black Paintings, a series of portraits that portray shocking themes. He made 14 of them and painted directly on the walls with oils. Goya left Spain in 1824 and moved to Bordeaux and settled in Paris where he died in Francisco Goya, Disasters of War: 1828 at the age of 82.
Gloomy Presentiments of Things to Come, 1810, aquatint and etching

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Artists Biographies

Hokusai
Hokusai was born in 1760 into an artisan family in Japan. He was born with the name Tokitaro. His name was changed many times throughout his life because it was common in Japan for an artist to change his name. However, his changed more than usual. At twelve years old he was sent by his father to work at a book shop. This is where his interest with printmaking started. At fourteen he became an apprentice to a wood-carver, where he worked till he was eighteen. This was good practice for him for carving his future woodblocks. He was then accepted into the studio of Katsukawa Shunsho, an artist of ukiyo-e, a style of woodblock prints and paintings. After a year his first name changed to Shunro. Under this name he published his first series of prints in 1779. Shunsho died in 1793 and Hokusai, Self-portrait as an Hokusai began to explore other Old Man, 1839, woodblock styles of art such as European styles. Soon he was expelled from his school, for unknown reasons. He said that his embarrassment inspired him to work harder. He then became more focused on landscapes. He became associated with the Tawaraya School and adopted the name Tawaraya Sori. In 1798, after producing a large amount of brush paintings, he gave his name to a pupil. For the first time he was a free artist, not affiliated with any school. He adopted the name Hokusai Tomisa.

Hokusai, Mount Fuji in Clear Weather, 1837, color woodblock

By 1800 he changed his name to the one that he is now known by, Katsushika Hokusai. He then published two collections of landscapes and began to attract students. Over the next decade he became increasingly popular. In 1807 he paired with a novelist to produce images for books. They had artistic differences and had to stop working together. However, the publisher kept Hokusai on the project because he felt images were more important than words. In 1811, at age 51, he changed his name yet again to Taito and created the Hokusai Manga. The Manga were art manuals that were very popular at the time. He published 12 volumes. In 1820 he changed his name to Listu; this name marked the start of the period in which he secured his fame in Japan. During this period he produced the famous 36 Views of Mount Fuji, which included the Great Wave of Kanagawa.
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Artists Biographies

Hokusai, The Great Wave of Kanagawa, 1832, color woodblock

Then in 1834 tragedy hit. A fire burned down Hokusais studio. He was old at this time and younger artists were starting to over-shadow him but he never stopped making art. He died in 1849 and on his death bed he said that he just wanted five more years so he could produce a few more pieces. After his death his fame grew throughout the world and he is still thought of as one of the greatest Japanese artists.

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Artists Biographies

Andy Warhol
Andrew Warhol was born in Pittsburgh, Pennsylvania in 1928. He was the third child of working class parents, who were immigrants from Slovakia. He was raised as a strict Catholic. In third grade he suffered from the disease called St. Vitus dance, a complication of scarlet fever. This resulted in long-term effects to his skin coloration and he became a hypochondriac. He was bedridden for a lot of his childhood. To occupy time in bed he collected old pictures of movie stars and put them up around his bed. He also drew and listened to the radio. He says that this period of his life was important to the development of his personality. From a young age he showed talent in art. When he was old enough he studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh. In 1949 he moved to New York City and began a successful career in magazine illustration and advertising. In 1950 he gained fame, something he always craved, from his shoe ads that were created by using a loose inkblotting style. RCA hired him to make record covers and promotional material. In 1962 he held his first exhibit, which included the Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles, and 100 Dollar Bills. During the 60s Andy founded the factory, a studio that became a hang-out for artists of all kinds. Once Andy started working in the factory he began to use silk-screening. With his process he was able to produce his artwork en masse. Warhol liked the idea of silk-screening because he was making art work using images of mass produced products and he was then mass-producing his art work. He said that he wanted to be a machine. Warhol became quickly known for his brightly colored pop art. Some critics Andy Warhol, Campbells Soup, 1968, silk screen-printing were turned off by his glorification of
Andy Warhol, Self-portrait, 1966, screen-printing

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Artists Biographies

market goods but it was clear that there had been a change in the art world and he had sparked it. He started to make films as well. He cast his friends, who were artists and socialites, and would film in the factory. In 1968 Valerie Solanas, a radical feminist who had been in one of the Warhol films, came to the studio to pick up a script but was denied entry. In a fit of anger she came back and shot Warhol, as well as an art critic, and a curator. Everyone survived. The 70s were a Andy Warhol, Turquoise Marilyn, 1962, silk screen-printing calmer time for Warhol. He was well-established and some of his patrons were well-known movie stars and musicians. In 1975 he wrote a book, Philosophy of Andy Warhol, where he discussed the nature of art. During the 80s Andy started to get back into the limelight, mainly because of his friendships with new upcoming artists such as Jean-Michel Basquiat. However, critics were starting to turn on Warhol, saying that he was a business artist. The majority of his art was of celebrities. People thought he had become very superficial but Warhol had always been fascinated with celebrities and people of the elite. In 1987, after gallbladder surgery, Warhol suffered from a heart attack and died. It was a tragedy in the art world and many gathered at his funeral. His ideas were bold and different and helped to change the art world. He took chances and become an icon of the 60s and 70s.

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THE MUSEUM OF FINE ARTS EXHIBIT:

MATRIX: CONTEMPORARY PRINTMAKING

Roger Shimomura Kabuki Party 1988

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How Technology has changed Printmaking

When we consider the vastly different uses of prints throughout history, it is difficult to see where prints might fit into our modern society. In the years before computers and the internet, prints were made as a way of advertising an artists skills, or a way to send back images from a new land. During the time of newspapers, the printing press led the mass production of images and text allowing more of the public to gain access to the news and current events in their societies. With the internet today, there is literally almost no need for any printed newspapers. Many companies are switching to online publications in order to be more eco-friendly. With laser printers and Xerox machines, the idea of painstakingly creating a lithograph or etching seems humorous. Today printmaking is used solely as an art form. This has allowed modern printmakers to create exceptionally beautiful and creative prints, which push the boundaries of traditional printmaking. Many modern printmakers create their prints by incorporating the new tools and technologies available, even those used in everyday household chores. The artist Willie Cole is a prime example of this. He makes lithographs that are based on the patterns left by an iron when it is face down for too long.

By incorporating the iron into his prints Cole merges a modern technology with the antique technique of printmaking. Modern printmakers also incorporate unique subject matter reflecting the new freedom they feel with prints viewed purely as art. The artist Mark Hosford (biography on page 27) composes wildly imaginative and colorful images. In his prints Hosford draws fictional creatures with multiple arms and distorted bodies. His figures seem to float defying the laws of physics. Hosford said these images came from his overactive imagination as a child.
Mark Hosford Weight of Worm 2005

Willie Cole Pressed Iron Blossom 2005

With the rapid advancement of the digital contribution to the art world, many artists have begun to play with the idea of the perfection achieved by such media. Imi Hwangbo creates prints by hand to mimic digital precision. She creates lithographs that display an exact repetition and patterning. Hwangbo painstakingly creates prints in the tradition of the old masters, as if simply using a computer is not an option.
Imi Hwangbo Echo Keeper 1 2001

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How Technology has changed Printmaking

Hwangbo exemplifies another trend present in printmaking. With the new ease with which prints can be produced, many artists instead focus more attention on the way a print can be hung in a museum. Artists conceive works that defy the confines of a traditional four-sided frame. Hwangbos works achieve threedimensionality in their finished state. By layering print after print the artist builds up a texture to give the work a presence in space. The artist Tim Dooley (biography on page 24) resists the confines of a twodimensional sheet of paper. Dooley creates large installation pieces in which the prints become almost interactive. Dooley includes mixed media, which allows the viewer full awareness of the intricate process and form of prints.

Anita Jung Madonna and Child with St. Anne 2004

We can see through these many examples that printmaking today is drastically different from the printmaking of the past. Our need for prints has changed through the advancement of technology, so the methods and reasons we create prints has followed suit. The technology that changed printmaking is not a bad thing, but rather another adjustment that contemporary artists have embraced in creative ways.

Tim Dooley That Joke Isn't Funny Anymore 2007

Modern printmakers also create works that reference the heritage of printmaking, but they add modern touches. Anita Jung is known for works that visually cite old masters paintings yet she incorporates elements of home dcor through patterning. By combining new and old Jung celebrates the roots of contemporary art while embracing modern influences.
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How Museums Have Embraced Modern Printmaking

With the new freedom experienced by modern printmakers, it should come as no surprise that artists are trying new and unexplored forms that defy the conventions of most typical museum exhibitions. But museums are adapting and learning to embrace the new forms. Museums now recognize the artistic value of prints. In recent years the number of print exhibitions in the United States increased exponentially. The Los Angeles County Museum of Art offered five exhibitions on prints just since 2007. They focused on traditional Japanese prints while mounting exhibits displaying prints by artists better known for their other media, including Picasso and Matisse.

In recent exhibits museums have adapted to the new and expanded techniques and dimensions of printmaking. The exhibit Matrix at the Museum of Fine Arts at Florida State University will display some of the new techniques currently in practice. Matrix will include artists whose prints take on a variety of forms. The artist Lynne Allen (biography on page 23) creates three-dimensional works out of prints. Her work draws on her Native American heritage, and her paper sculptures commonly take the shape of artifacts of that culture. Her work displays the way prints can be transformed into something entirely different than their original form and intent.

Henri Matisse Le Cauchemar de l'Elphant Blanc 1947 (LACMA exhibition Matisse on Paper)

In 2001 the Museum of Modern Art in New York held an exhibit titled What is a Print? This exhibition examined the ever changing

medium of printmaking in relation to its past and future. The Mary Brogan Museum of Art and Science in Tallahassee recently presented an exhibition that dealt with the relationship between printing money and fine art. Titled CURRENCY: Art As Money/Money As Art, the exhibit showed the influence that money as a print form exerts on the printmaking of contemporary artists.

Lynn Allen Moccasin #2 2000

Matrix will include artists who developed alternatives to paper as the foundation on which they print. The artist Cynthia Lollis prints on unique materials. Cynthia Lollis created a detailed map of the earth, and printed it on the inside of broken egg shells. 22

Fall 2009

MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Lynne Allen
Lynne Allen is well known both for her traditional as well as her three-dimensional prints. Her inspiration comes from the history of the women in her family as members of the Standing Rock Indian Reservation in South Dakota. When the matriarchs in her family were sent to government boarding schools as part of a plan to educate the Indian, they became outsiders in both the Native American and white worlds. Lynne Allens work reflects her foot-in-both-worlds existence. Although Native American, she appears to the outside world as a white woman. A central theme of her prints and Lynne Allen three-dimensional objects is the Moccasin #2 misunderstanding between Native 2000 and white Americans. In Moccasin #2, Lynne Allen showcases the one-of-a-kind quality of her work; layered etchings on handmade paper have been sewn together to form threedimensional moccasins. The moccasin is an iconic image of Native American culture. The use of such a recognizable image to convey a message is characteristic of her work; Allen often features moccasins, knife sheaths, and stamp bags constructed of original 19th century land documents or etchings on handmade paper. Lynne Allen is the Director of the School for Visual Arts at Boston University as well as a professor of art. Her work has been exhibited both nationally and internationally and is a part of the permanent collection of museums throughout the world. With over 100 exhibitions featuring her work in the United States alone, Allen has been recognized both through awards and exhibitions as one of the outstanding artists of her field. Lynne Allen
Knife Sheath 2006 23

Fall 2009

MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Tim Dooley
Tim Dooley is known for his printmaking as well as his Mixed Product installations. These installations are based on and center around printed panels. Dooley considers these Mixed Product panels as the core of his work. The panels begin as traditional collages which Dooley then augments further using his computer. The collage imagery concentrates on the space between oppositional human emotions within a violent, consumer-driven society, feelings such as fear and hope or alienation and intimacy. Dooley is constantly making new panels and feels that Mixed Product will never truly be finished as its evolution coincides with his Tim Dooley evolution as an artist. Mixed Product Dooleys installations, 2005 like the one pictured here, employ brightly colored prints, wires, and other media which twist and coil among each other, disguising what are often sinister messages about the unpredictable and sometimes dangerous aspects of modern technology and its place in society. Tim Dooley is an Associate Professor of Printmaking at the University of Northern Iowa. He has participated in multiple group, solo, and juried exhibitions in locations throughout the United States.

Tim Dooley Mixed Product (detail) 2005

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MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Denise Bookwalter
Generally, Denise Bookwalters various print series result from research and investigations into the history of technology. They explore the changing perspectives of the human view of technological development. As an expansion of a dialogue between the historical and the contemporary, Bookwalters prints often use 3-D modeling software as well as other technologies. Bookwalter translates her prints using traditional and experimental techniques, creating a dialogue between the virtual and the actual science and art. In Luftschiff (left), one of a series of prints of the same title, Denise Bookwalter demonstrates her interest in the structure and history of technology, specifically the development of aviation. This print details the luftschiff, German for airship. Bookwalter shows the luftschiff from multiple views via a process that utilizes three-dimensional modeling software to translate the modeling into a two-dimensional print.

Denise Bookwalter Luftschiff 2008

The other prints in the series follow the same gray, white, and yellow color scheme and, like the example shown here, they resemble blueprints that have been carefully arranged and layered to detail Bookwalters explorations into the changing properties of German aviation. Denise Bookwalter is an Assistant Professor and Area Head of Printmaking at Florida State University.
Denise Bookwalter Pieces and Parts (detail) 2008

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MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Kabuya Bowens
Kabuya Bowens interest in printmaking first began while she was doing graduate work for her MFA at Pratt Institute in Brooklyn, NY. Her early inspiration was found in the work of German artist Kathe Kollwitz and American artist Elizabeth Catlett, whose prints and sculptures dealt with social and political issues in relation to the human condition. After her graduate research proposal to work with Elizabeth Catlett was accepted at Pratt Institute, and Bowens was given a full scholarship opportunity, she was next introduced to Robert Blackburn for an independent study at The Printmaking Workshop. Bowens experience at The Printmaking Workshop with Blackburn heavily influenced her work as a printmaker. She learned to work as a professional printer for different artists, galleries, Kabuya Bowens and museums, getting the The Blackburn Suite: Blackburn Wing Figures opportunity to meet people 2007 from all over the world. While working with Blackburn, Bowens visited the facilities of the Tyler School of Art in Philadelphia and transferred there, later traveling to Rome, Italy to work with Nona Hershey. Kabuya Bowens work is inspired by the visual critique of the African-American experience in the United States, and explores ideas of memory, human relations, and the questionable nature of truth. Her current work takes an interdisciplinary approach to printmaking, concentrating on the unique and monoprint concepts of the printmaking process rather than several images published in an edition. Her most recent creative endeavor is Rituals and Masked Identities, a large group of prints consisting of several smaller series. Kabuya Bowens is an Assistant Professor of Art at Florida State University.
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MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Mark Hosford
Mark Hosford is a musician, animator, and artist whose prints and drawings are inspired by the vivid dreams he had as a child as well as the type of fantastic imagery and sociological investigations found in the prints of Los Caprichos by Francisco Goya. Hosford first became interested in printmaking because the method for creating an image is indirect, and the process afforded him the ability to produce multiples. When working on a print, many steps are taken before the actual outcome is known. Hosford describes this relationship as collaborating with the medium instead of commanding it. He also likens this process to a math problem, his favorite subject in Mark Hosford school, where the artist has to go The Hidden Pieces from Silhouette Series through many steps in solving a 2002 2008 problem in order to be rewarded with an answer. His recent prints come from different moments in life, some specifically drawn from Hosfords own past, and some based on ambiguous scenarios from his observations of society. The subjects of these range from the first contemplation of loss, such as the death of a loved one, to issues such as gender and religion. His figures often appear in silhouette so as to give a more general representation of these experiences. In The Hidden Pieces, Hosford includes slightly grotesque features that often inhabit his works. The strange pile of monsters partially hidden behind the screen is exactly the type of nightmarish image frequently seen in Hosfords art. The prevalent use of pink to dominate both the entire picture plane and the screen behind the figure suggests a traditional characterization of the female gender. He renders the figure in silhouette; she strokes her own hair and looks down. She symbolizes contemplation or possibly melancholy. While the exact subject matter is intentionally ambiguous, the contrast between the young girl and the horrific monsters evokes the strong emotions of a vivid dream, or perhaps a nightmare. Mark Hosford is an Assistant Professor of Art at Vanderbilt University in Nashville, Tennessee, and holds both a Bachelor of Arts and Master of Arts degrees in printmaking.
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Fall 2009

MUSEUM OF FINE ARTS EXHIBIT:

ARTISTS BIOGRAPHIES

Roger Shimomura
Roger Shimomuras paintings and prints address issues associated with Asian-American culture, often inspired by the diary kept by his immigrant grandmother. Shimomura is a third generation Japanese-American interned with his family after the Japanese bombed Pearl Harbor in 1942. His paintings, prints, and theater pieces focus not only on racial issues and stereotyping of AsianAmericans but also on life in an internment camp. For Tokio Ueyama (right) shows a typical scene inside a Japanese internment camp, combining the colors and graphic elements of American Pop Art, like that of Andy Warhol, with a stereotypical portrayal of an Asian woman writing calligraphically while dressed in a traditional kimono and obi. The juxtaposition of these elements evokes Shimomuras dual interest. He portrays the ill treatment of an entire population as well as the ethnic confusion of many Japanese Americans when faced with the conflicting cultures of modern America and their Japanese heritage. Formerly a professor at universities in Kansas and Minnesota, Roger Shimomura retired from teaching in 2004, and his personal papers and letters are being collected by the Archives of American Art, Smithsonian Institute, in Washington D.C. Shimomura has had over 125 solo exhibitions of his paintings and prints. He has presented several pieces of experimental theater in New York, Minneapolis, and Washington D.C.

Roger Shimomura Mistaken Identities: For Tokio Ueyama 2005

Roger Shimomura Mistaken Identities: For Seattle P.I. 2005

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Fall 2009

LESSON PLANS:
LEARNING ABOUT PRINTMAKING

Albrecht Durer Mechanical Creation of a Perspective Image Etching, 1525

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Lesson Plan

Pop Art Food

Session Activity: Students will look at Andy Warhols Soup Can print and discuss why they think he created this work. They can also see that art can be found everywhere, even if it is a soup can. After they discuss the work, students will draw their favorite foods and write short poems on the drawings about the food. After they have finished they will share their pictures and poems with the class. Level: 1-5th grade Time: 45 minutes Key Concept: 1. Students will learn about Andy Warhol and pop art. 2. Students will see that art can be found anywhere. 3. Students will get to create their own pop art images of their favorite foods and about them.

write Materials:

Image of Andy Warhols Soup Can Paper Markers /pencils/pens Vocabulary: Pop art, printmaking, screen-printing Procedure: 1. Students will learn about the pop art movement. They will learn about Andy Warhol and his life and what he did for the art world. a. Pop art is an art movement that began in the U.S. in the 1950s and reached its peak of activity in the 1960s, chose as its subject matter the anonymous, everyday, standardized, and banal iconography in American life, such as comic strips, billboards, commercial products, and celebrity images, and dealt with them typically in such forms as outsize commercially smooth paintings, mechanically reproduced silkscreens, large-scale facsimiles, and soft sculptures. b. Andy Warhol was born in Pittsburg in 1928. He was always fascinated by celebrities and socialites. He was sick a lot as a young kid and would spend hours in his bed drawing or looking at magazine clippings. Once he was old enough he went to an art school for commercial arts. He then gained an interest in advertising. He did ads for shoes which gave him much success and was then hired to do record covers by a large record company. Once he had gained fame he started doing his own work in his own studio which 30

Fall 2009

Lesson Plan

became known as the factory. This became a hang- out to many socialites and other artists. Everyone wanted to be in with Warhol. His art work was original and eye catching. He made simple images using icons and objects that were in everyday life but he found a way for people to appreciate them as art. He made the process of silkscreening famous and continues to be the face of pop art. 2. Students will view Andy Warhols Soup Can and discuss why they think he made it. a. Why do you think he wanted to make a picture of a soup can? b. What do you think the message was that he was trying to show people? -Maybe that art is everywhere, even in your kitchen. - Maybe soup is Warhols favorite food. 3. Students will then get pieces of paper and draw their own favorite foods. 4. Students will write short poems on their pictures about their favorite foods. a. Students can use the template attached to aid them in writing the poems. b. Students can make their poems into concrete poems by making the words form a different shape such as the shape of the food they are writing about. Summary: Students will then share their pictures and read their short poems out loud to the class. Evaluation: 1. Through discussion students showed an understanding of pop art. 2. Through discussion students showed learning about Andy Warhol and his contribution to the art world. 3. Students made their own pop art images of their favorite foods. 4. Students wrote poems about their favorite foods. Extension: Students can use their drawings as preparation for printmaking. Stencils could be cut to replicate the idea of silk-screening and Warhols method. Styrofoam prints could be made by following the directions in the next lesson plan. Example of Concrete Poetry

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Lesson Plan

My Favorite Food

Name of Food: _____________________________________________________________________ ______ Two Adjectives Describing the Food: ________________________________________________ (Give color, shape, or texture words) A Phrase to Describe the Taste of the Food: ________________________________________ _____________________________________________________________________

Cheese Soft, Yellow-orange Extra Sharp Comfort Author: Morgan Jones

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LESSON PLAN

Relief Printing with Styrofoam

Printing Everyday Subjects like Durer and Hokusai Session Activity: Students will create relief prints, using inexpensive and readily available materials. This process will show them how prints can be made, but will also give them a better understanding of how more professional prints are produced using more advanced materials. They will explore prints made by famous artists from various times. By looking at these older prints students can relate their lives to the past. Printmaking for children develops manual skill, coordination, visual projection and discipline. Level: 1st-8th grade Time Needed: 1-2 hours Materials Needed: Acrylic paint or ink Styrofoam trays (clean ones used for meat packages are ideal) Pencils or pens Cookie sheet, or similar object, to hold paint Paint rollers or paint brushes Heavy weight paper Images of prints Worksheet for evaluation Optional Material: Rolling pin Felt Objectives: 1. Students will learn about historical printmakers, and the images they produced. 2. Students will relate things in their lives to the things they see in the prints. 3. Students will explore the process with which relief printing is made. 4. Students will demonstrate their creativity. 5. Students will develop an understanding of how one print may vary from another from the same plate depending on paint applied and pressure used.

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LESSON PLAN
Vocabulary: Relief Woodcut Bleeding Procedure: 1. Teachers will show images of prints made by Durer and Hokusai, provided at the end of the lesson plan. 2. Teachers will provide information about these artists and their historical significance; information is provided on these artists and their significance throughout the packet. 3. Students will answer a series of questions designed to get them thinking and talking about the prints they have seen. 4. Students will sketch images that relate to the themes of the prints they are shown, for the Hokusai, students should be encouraged to draw a landscape they are familiar with, and for the Durer, students should be encouraged to draw another animal. 5. Students will produce prints based on these sketches. 6. Teachers will cut the Styrofoam trays so that there are flat surfaces with which to work. 7. Students will use pencils or pens, or for older students carpenters nails, to cut out the lines in their prints, remembering that the images will appear in reverse. 8. Students will use rollers or paint brushes to apply paint to their Styrofoam trays, or plates to be technical. 9. Students will then lay the plates down on a table and place sheets of paper over the plates, patting gently, to prevent bleeding, to transfer the paint. 10. Optional Steps: Students may place pieces of felt over their plates and gently roll over them with rolling pins. This most closely simulates the action of using a printing press. This step may also just be demonstrated by the teacher. 11. Students will allow their papers or piece of felt, to dry, and may repeat the process to create an edition of prints. 12. Students will then answer questions relating to the images they created in comparison to the sample images by Durer and Hokusai. Evaluation: Through hands-on creation, students will learn the process of creating relief prints, using comparable materials to those of the professionals. By creating these relief prints, students will be more aware of the time it takes to produce the plates and also the multiple images that can be produced using this method. Through the production of prints, students will show a relationship between historical knowledge and imagery and their own lives.

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LESSON PLAN
Images for Lesson Plan

Hokusai The Great Wave off Kanagawa woodcut print, 1823-29

Albrecht Durer Rhinoceros etching print, 1515

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LESSON PLAN
Worksheet prior to Printmaking: Hokusais The Great Wave Name everything in this print that is similar to something you have seen before?

Hokusai lived in Japan, an island country surrounded by ocean. Where do you think Hokusai saw a huge wave like this? What was the weather like when he saw this? Hokusai also wanted people to look at Mt. Fuji, an important mountain in Japan. What is the reason Hokusai placed it behind the water? Hokusai made many pictures of Mt. Fuji. When you look at this print, do you think Hokusai though the ocean was more important or Mt. Fuji was more important to Japan?

Florida is a peninsula, a state surrounded by ocean on three sides. Hokusais Great Wave shows his experience of Japanese terrain and weather. What picture of Florida would you create to show your experiences of Florida Terrain and weather? Do you think the land or the ocean is more important in Florida? If you were sitting in a boat off the coast of Florida and you could draw a picture, what would it include? What would you want to show about the ocean? What would you show on the land?

Durers Rhinoceros

Where have you seen this animal before? Your house, the zoo, in the wild?

Albrecht Durer lived in Germany (in Europe) in the 1400s. He was creating pictures of animals that live in Africa. Where do you think Durer saw this animal? Were there zoos 500 years ago? Where else might Durer seen a rhinoceros?

Why would Durer draw this animal as opposed to another type of animal? How would you decide which animal to draw? Would you consider your own fascination with an animals appearance? Would you consider the rarity of an animal? That an animal is threatened with extinction? That an animal holds an important place in a local ecosystem? Something else?

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LESSON PLAN

Worksheet to complete after Printmaking:

How is your print the same as the Durer or Hokusai print?

How is your print different than the Durer or Hokusai? Why do you think there are differences?

In what ways do we use prints today? In what ways were they used in the past?

How has technology changed our use of prints? Where can you see prints today?

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LESSON PLAN

Im a Little Culturist and Printmaker

Session Activity: Students will create prints which characterize their own ethnic cultural traditions using as inspiration the print works, Deer Skin Bottom Bag, Knife Sheath, and Moccasin #2 by Lynne Allen. The United States is a melting pot; every American comes from a different cultural and historic background. Many families still keep some of their conventions throughout generations. In this activity, students will have the opportunity to reflect on their own cultures, and design representative prints to express the shared values and perspectives of their families. Level: 5-7 grades Time needed: two hours Objectives: 1. Help students to recognize their own cultural backgrounds which play an important role in shaping peoples identity and confidence. 2. Students will become aware that cultural diversity is one of the important features of their environment and will discover family histories of people around them. 3. Students will create cultural symbols from their own perspectives. Materials: Newspapers, magazines, website images, collage materials, paper, glue, scissors and copy machine. Vocabulary: 1. Culture: the way of life, particularly general customs and beliefs of a group of people at a specific time. 2. Tradition: a belief, principle or way of acting which people in a particular society or group have continued to follow for a long time, or all of these in a particular society or group. 3. Sheath: a cover into which a knife or sword fits so that the blade cannot cut someone when it is not used. 4. Moccasin: a shoe which the wearer's foot slides into and which is made from soft leather with stitches around the top at the front. 5. Vellum: a material used in the past for writing on or for covering a book, made from the skins of young animals, especially cows or sheep.
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LESSON PLAN

Procedure: 1. Introduce the print works by Lynne Allen. a. Show the images of Deer Skin Bottom Bag, Knife Sheath, and Moccasin #2.

Lynne Allen, Deer Skin Bottom Bag, etching on 19th-century handwritten land document on vellum, handwork, deer skin.

Lynne Allen, Knife Sheath, etching on 19th-century antique handwritten land document on vellum, handwork, porcupine quills, wire, rusted bottle caps,

Lynne Allen, Moccasin #2, etching on handmade paper, linen thread, handwork.

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LESSON PLAN
b. Demonstrate the inspiration of the three works through the artists statement. All the matriarchs in my family have been members of the Standing Rock Indian Reservation in South Dakota. All were sent away to government boarding schools, to realign their cultural heritage. All became outsiders in both the native and the white world. Everybody comes to their own cultural truths, and mine is that I am the product of the governments plan to educate the Indian. I can trace my Native heritage back six generations to Ita ta Win (Wind Woman), born in the 1830s. If you meet me you dont believe I have native blood. This fact, how we view each other, plays a big part in my image making. Everyone always misunderstands everyone else. My work is about the difference between what is true about the unknown and what is imagined. I combine personal experiences with fiction, and as a visual artist I incorporate the passions that drive me personally . LA Because her family background mixed two distinctive civilizations, Lynne uses her artworks to discuss the ways people view one another and the misunderstanding that may cause in the process. She wants people to realize the difference between truth and imagination when looking at the culture and traditions of someone else. She therefore uses the art pieces to describe real stories from her cultural perspective. C. Discuss the idea of culture with students. What is culture? What is tradition? Do you know anything about your cultural background? Is your family Italian, Asian, African-American? Does your family celebrate that background in some way? Explain. Does your family have its own traditions? Describe a tradition of your family. Do you enjoy this family tradition or not? Explain. Think about a symbol that represents your culture or your family. 2. Pass the papers and materials around and have students use the newspaper and magazine pages to find images to symbolize their cultures or families. Students will start to collage and create their own cultural icons. Students will use the copy machine to print out their cultural symbols. Have students share and explain their cultural symbols.

3. 4. 5.

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LESSON PLAN

Evaluation: By making their own cultural symbols and sharing them, students will learn what constitutes culture and tradition and will understand the diversified culture in the United States. Extension: Have students follow Lynne Allens process by using their prints (Xeroxed copies) to make three dimensional objects which also represent their families or ethnic backgrounds. Example:

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LESSON PLAN

Color, Color, Magic Power

Session Activity: Students will concentrate on three printmaking artworks by two artists: Ripple Storm by Luis Cruz Azeceta; Big House and Swirl House by Bradlee Shanks. The subjects in these prints all describe the extremely powerful threat of nature, one that could bring serious disaster. However, there are differences between the two artists color options as well as their approaches to presenting their perspectives. Therefore, in this session students will discover the mysterious force of color and learn a basic message about the way every color expresses special emotion and evokes a distinct atmosphere. Level: Grades 3 6 Time needed: one and half hours. Objectives: 1. Students will observe the opposing descriptions of disaster presented by the two artists. 2. Students will learn that color is a capital component in the construction of an artwork. 3. Students will compare and contrast different artworks by color. 4. Students will study the basic definition and potential expression of each color. 5. Students will use their own words to describe and interpret the three artworks. Materials: Image of Ripple Storm by Luis Cruz Azeceta, Big House and Swirl House by Bradlee Shanks. Markers/ Pencils/Pens/Worksheets Vocabulary: Ripple/ Swirl Fertility /Nobility Procedure: 1. The teacher will show the images of three printmaking works, Ripple Storm by Luis Cruz Azeceta and Big House and Swirl House by Bradlee Shanks. The students will be given information about the artists and the artworks.

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LESSON PLAN
a. Luis Cruz Azeceta is a full-time artist who owns a studio in New Orleans. Hurricanes have repeatedly threatened his city. Luis gives the following art statement for Ripple Storm: In New Orleans, where I now live, water caused displacement postKatrina. [The] etching, relate[s] to that experience. LCA b. Bradlee Shanks is now an associate Professor at the University of South Florida in Tampa. His art statement follows: My pictures are meant to serve as a trigger, a point of departure for knowing something I otherwise would not know. Currently I am creating screen prints using the landscape of a remote Florida island as my muse. BS Bradlee uses his works as a door to the unknown world. He uses his artwork as an exploration of ideas and sees the process as an adventure of discovery. 2. The teacher will use the worksheet to discuss several questions about the prints. a. The students will give written answers to worksheet #1. A class discussion will follow. b. The teacher begins the discussion. Ask the students, What is the distinction among these three print works? What elements make each look so different? c. Do you think color choice decides the atmosphere of the artworks? d. Which print better matches your idea of disaster? If you were the artist, which colors would you use to depict the same topic? 3. The teacher will give some basic meanings associated with color to the students. Use worksheet #2, Color Matters to start a simple activity with color. Use the worksheet to find out possible messages associated with each color. Next give the students the information about the artist and their artworks as well as information about color in the second section, the Color with Magic Words section. Stress that color may mean different emotions and messages to different people. Evaluation: 1. Did the student understand and participate in the activities? 2. Did the student discover differences, including color differences, among the three prints? 3. Did the student learn the possible meaning of each color? 4. Did the student express his/ her own ideas through the process?
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LESSON PLAN Worksheet 1

How do you feel about this print? Use one word to describe your feeling? (Harmonious, cheerful, frightened, powerful, unpredictable) _____________ Did you know it was about a disaster when you saw it? (Circle your answer) Yes no Is there any clue in this work which gives you the idea of misfortune? (Color, shape, line, composition, subject) No Yes and

Luis Cruz Azaceta, Ripple Storm, monot hi

How do you feel about these two prints? Circle one or more words. (Dreadful, changeful, dynamic, natural) _____________ Compare these to the first print. What are the differences you see? _____________ Do you feel these two prints more explicitly convey a disaster atmosphere? (Circle your answer and explain)? Yes No Yes and no
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Bradlee Shanks, Big House, print

Bradlee Shanks, Swirl House, print

FALL 2009

LESSON PLAN WORKSHEET 2

Color Matters Each color has a different magic word. Match the
colors in Column #1 to the words in Column #2. You can match a color to more than one word. Column #1 Red Organge Yellow Green Gray Purple Blue White Black Column # 2
Trust
Storm
Passion
Power
Joy
Light
Energy
Wisdom
Safety

Color with Magic words: The following

color messages refer to western definitions.The same color may mean something different to a different culture and people. For example in Asian culture white often symbolizes death while in western socity it symbolizes purity and innocence. The teacher may provide further information about color meanings within other cultures. Also, colors may symbolize different meanings to different people.

Red: Color of fire and blood. Red often symbolizes war, power, danger, passion, and love. Orange: Orange combines yellow and red. It often symbolizes joy, sunshine, and enthusiasm. Yellow: Color of sunshine. It often symbolizes joy, happiness, intellect, and energy.
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LESSON PLAN
Green: Color of nature. It often symbolizes growth, harmony, freshness, and fertility. Grey: Grey combines opposite colors and can be a natural and balanced color.It can also symbolize a dark or depressed mood. Usually grey is a color seen in storm clouds and some metals. Purple: Color which combines blue and red. It often symbolizes power, nobility, luxury and ambition. Blue: Color of sky and sea. It often symbolizes trust, wisdom, loyalty, intelligence, and faith. White: Color of pefection. It often symbolizes light, goodness, innocence and purity. Black: Often the color of mystery, power, elegence, formality, and death. Discussion Questions: 1. Do you think color choices decide the atmosphere of the artworks discussed in worksheet #1? Describe the colors you see. 2. Can you determine what different colors mean to each of the artists? 3. If you were the artist, which colors would you use to depict the same topic?

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Lesson plan

Roger Shimomura and the battle against racial discrimination

Roger Shimomura, Kabuki Party, colored screen print, 1988

Session Activity: Compare and contrast ethnicities as demonstrated in Shimomuras prints. Questions about the messages Shimomura presents in his works will be provided as well as images of Shimomuras prints. Grade Level: High School Time Needed: About an hour Objectives: 1. To have students recognize important underlying concepts apparent in many of Roger Shimomuras artworks, particularly messages about discrimination. 2. To have students appreciate their own ethnic backgrounds. Materials: Markers, colored pencils, pencils, and crayons Construction paper Collage Materials Vocabulary: 1. Discrimination- Treatment or consideration based on class or category rather than individual merit; partiality or prejudice 2. Tolerance- The capacity for or the practice of recognizing and respecting the beliefs or practices of others Activity Procedures: 1. Students will view a selection of Shimomuras works: Kabuki Party; Fox and Banzai; Classmates; West Seattle Shotgun. 2. Describe the racial discrimination Shimomura presents in his works and who is being discriminated against.

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Lesson plan
3. Students should pay close attention to the art elements in Shimomuras workscolor, line, shape, texture, and value (lights and darks). What seems to be the most prominent element in his works? 4. A. What is the purpose of Shimomuras presentation of Asian subjects? B. What is the controversy he hopes viewers will explore and discuss? C. What emotions does Shimomura make you think of through his use of materials, elements, and principles? D. Describe the social/cultural context from which his work came. 5. Each student will receive collage materials in order to put together a piece of work of his/her own that compares and contrasts his/her personal culture and background with anothers heritage and background. In order to choose a different culture to compare and contrast, each student will choose a partner and discuss the different backgrounds. 6. After completing the assignment each student will be encouraged to present his/her art work to the class. 7. Encourage a class discussion to promote acceptance of all cultural backgrounds. Evaluation: Did the student 1. Understand the meaning behind Shimomuras prints? 2. Create an art piece that compares two different cultures? 3. Understand the meaning of tolerance of other peoples backgrounds? Background information: Roger Shimomura was born in Seattle's Central District on 6/26/1939. He spent the first few years of his life interned with his family at the Puyallup State Fairgrounds while camps were being built by the U.S. These internment camps were designed by President Roosevelt during World War II to isolate Japanese Americans from other Americans due to the war with Japan. The purpose was to protect Americans from any harm within the U.S. Roger Shimomura, Fox and Banzai, acrylic on canvas, borders. The practice of separating 2003 Japanese Americans was subsequently criticized and condemned. Soon he and his family transferred to Camp Minidoka in southern Idaho.
Roger Shimomura, West Seattle Shotgun, acrylic on canvas, 2003

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Lesson plan
After the war ended, Shimomuras family was permitted to return to Seattle, where he developed his interest in art. He served two years as an artillery officer in Korea, then moved to New York where he worked as a graphic designer. In 1969, he received an M.F.A. in painting from Syracuse University. Shimomura's bold, illustrationlike artwork deals with Asian stereotypes and prejudices, and often references his family history. Shimomura wrote 35 performance pieces, and his paintings are in the permanent collections of the National Museum of American Art, Nelson-Atkins Museum of Art, and Microsoft.

Roger Shimomura, Classmate (Number 1), acrylic on canvas, 2003

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HELPFUL INFORMATION

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Fall 2009

Glossary

Artists Proof Baren

One of a small set of prints set aside from the edition for the artists use. Also known as an preuve dartiste. Japanese tool used for applying pressure in the printing of woodcuts. It is made of a flat spiral piece of wood or bamboo about 5 inches in diameter and a backing disk. The mixture of acid and water in which intaglio plates are etched. Ink seepage or oozing around a printed Image, caused by excessive use of ink, pressure or oil. A steel cutting tool with a sharp beveled point, used in engraving metal plates or carving stone. Also called graver. A refined type of handwriting characterized by elegant, curved script. In Japanese culture, calligraphy is a traditional method of writing, often done with a brush and ink. The Collagraph print is best described as a collage printmaking technique, where the image is composed from a variety of textured materials glued to a substrate and printed either in an intaglio or relief fashion. Printed image identical to the image on the block or plate and made by taking an impression of a wet proof. The graphic process in which lines are scratched into the metal plates with a sharp tool, rather than with acid. In printmaking, all the copies of a print published at the same time or as part of the same publishing event. An edition can include several different versions or several exact copies of one image, and can be as small as two prints or as large as hundreds of prints. The graphic printmaking process which uses acids to create incised areas on a metal plate. The image printed from a stone, plate, woodblock, or any other matrix. Printing from the grooves or crevices engraved, scraped or etched into the plate. The use of three-dimensional materials to create a work of art that surrounds the viewer and creates its own environment in a gallery, museum, or other public space.

Bath Bleeding Burin Calligraphy

Collagraph

Counterproof Drypoint Edition

Etching Impression Intaglio Installation Art

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Fall 2009

Glossary
Key Plate Kimono and obi

The plate or block used to serve as a guide to register, or to line up, other plates or blocks when printing each color layer of a color print. In Japanese culture, the kimono is a long-sleeved, ankle-length robe worn by Japanese women and tied with a belt over an obi sash. The kimono has a tradition dating back more than 1,000 years and is usually decorated with motifs such as flowers and birds. The process of printing from drawings made with special crayons on stone or on metal sheets, using the water-repellent properties of the crayons and the greasy inks as a basic principle. In printmaking, the physical object upon which a design has been formed and which is then used to create a print, such as a zinc plate or limestone block. A method of printmaking which produces a work that cannot be exactly reproduced. Monoprinting can sometimes produce similar images, but can never produce multiples, or exact copies. Because of this inability to directly copy an image, monoprinting is often called the most painterly printmaking technique. The impression left in the paper by the pressure of the plate edges. A preliminary impression pulled for examination of various stages until final state is reached. Specialized technique in which a plate or stone is inked with strips of several different colors at once. They are blended at the edges to produce a rainbow like effect. The raised surface which is the source of the image in relief process. The process of pulling a print from a bas-relief sculpture. The paper is placed against the clear sculpted surface and its back is rubbed with a flatedged crayon or pencil. The image appears un-reversed on the paper. The graphic process involving a stencil. The silkscreen process is referred to as serigraphic printing. To create a half-tone effect by engraving and etching little dots into the plate. In lithography, the process of removing the greasy drawing material from the completed image on stone or plate. Relief printing, the areas to appear in ink on the paper prints are those which are left in relief on the surface, in contrast to the cut-away areas. 19th-century term for lithography on zinc plates.

Lithography

Matrix

Monoprint

Plate Mark Proof Rainbow Roll

Relief Rubbing

Serigraph Stipple Print Washout Woodcut Zincography

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 FALL 2009

IMAGE LIST:
MUSEUM OF FINE ARTS EXHIBIT

LynneAllen,Moccasin #2,2000.Etchingon handmadepaper,linen thread,andhandwork, approx.4x8x3,inthe collectionoftheVictoria &AlbertMuseum, London. DeniseBookwalter, Luftschiff,2008.Print. KabuyaBowens,The BlackburnSuite: BlackburnWingFigures, 2007.Reliefcollagraph andmixedmedia,7x 31. TimDooley,Mixed Product,2005.Mixed mediainstallation, variabledimensions.

MarkHosford,The HiddenPiecesfrom SilhouetteSeries,2008. Screenprint. RogerShimomura, MistakenIdentities: ForTokioUeyama, 2005.Colorlithograph, 10.5x9. . TanjaSoftic, NavigableSpace, 2005.Etching, mezzotint, drypoint,15x 48. CynthiaLollis, collaboration withDaniela Deeg,VielClok, 2007.Silkscreen artistsbook. 54

 FALL 2009

IMAGE LIST:
HISTORICAL PRINTS
AlbrechtDrer, Rhinoceros,1515. Etching,approx.8 x115/8. Hokusai,Great Waveoff Kanagawa,1830 32.Woodblock print,approx.10 1/8x1415/16. FranciscoGoya,The SleepofReason ProducesMonsters, plate43fromLos Caprichos,179798. Aquatintandetching, 71/16x4. AndyWarhol, Turquoise Marilyn,1962. Silkscreen,82x 57. HenrideToulouse Lautrec,MayMilton, 1895.Colorlithograph, 31.3x24.1.

MaryCassatt, TheBath,1891. Drypointand aquatint,125/8 x913/16. YoshidaHiroshi, NightSceneAfterthe Rain,1925. Woodblockprint,16 x10. Rembrandt, Landscape,1640. Etching,83/8in.x 11.

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Sources
Bibliography: Allen, Lynne. <http://www.lynneallen.com>. Bookwalter, Denise. <http://www.denisebookwalter.com>. Dooley, Tim. Mixed Product. <http://home.mchsi.com/~flocoma/>. Heller, Jules. Printmaking Today, A Studio Handbook. 2nd ed. New York: Holt, Rinehart and Winston, Inc., 1972. Hosford, Mark. The Art of Mark Hosford. <http://www.sugarboypress.com>. JapaneseKimono.com. Japanese Kimono, Kimono Fabric, and Japanese Clothing. < http://www.japanesekimono.com/index.htm>. Kent, Cyril, and Mary Cooper. Simple Printmaking: Relief and Collage Printing, Screen Printing. New York: Watson-Guptill Publications, 1966. Monoprints.com. What is a Monoprint? <http://www.monoprints.com>. Mulder-Slater, Andrea. "Printmaking 101." KinderArt. 16 Sept. 2008 <http://kinderart.com/printmaking/print101.shtml>. Peterdi, Gabor. Printmaking Methods Old and New. 1st ed. New York: The Macmillan Company. Philadelphia Print Shop, The. Dictionary of Printmaking Terms. < http://www.philaprintshop.com/diction.html#I>.

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Sources

Saff, Donald, and Deli Sacilotto. Printmaking : History and Process. New York: Holt, Rinehart & Winston, 1978. Shimomura, Roger. <http://rshim.com>. Zaidenberg, Arthur. Prints and How to Make Them: Graphic Arts for the Beginner. 1st ed. New York: Harper & Row, 1964.

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Sources

Images:
http://www.liquidknowledge.info/HOKUSAI1.htm http://www.art.com/asp/display_artist-asp/_/crid--23653/Albrecht_Drer.htm http://www.masterworksfineart.com/inventory/toulouse http://www.moma.org/images/collection/FullSizes/80503002.jpg http://www.kaymariecoin.com/index.php?main_page=product_info&products_id=1202 http://internetshakespeare.uvic.ca/Library/SLT/literature/press1.html http://www.anubisappraisal.com/aboutus.html http://www.davidrumsey.com/amico/amico4101609-38743.html http://upload.wikimedia.org/wikipedia/commons/8/81/Rembrandt_The_Three_Crosses_1653.jpg http://www.metmuseum.org/toah/images/h2/h2_29.107.31.jpg http://www.peaceloveandhappiness.org/rembrandt-self-portrait.jpg http://www.artlex.com/ArtLex/e/images/etching_goya.sleepr.lg.jpg http://www.wfu.edu/art/pc/images/pc-goya-volaverunt.jpg http://www.cksinfo.com/clipart/people/famouspeople/painters/Goya-self-portrait.png http://imagecache2.allposters.com/images/pic/AWI/NR833~Self-Portrait-in-Orange-Posters.jpg http://academics.adelphi.edu/honcol/modconart/img/Warhol-campbellsoup.jpg http://www.artquotes.net/masters/warhol_andy/turquoise-marilyn-62.jpg http://upload.wikimedia.org/wikipedia/commons/1/18/Durer_self_portarit_28.jpg http://www.wfu.edu/art/pc/images/pc-durer-melencolia.jpg http://www.chowdernation.com/images/Durer.jpg http://michiao.wordpress.com/2008/08/17/%e6%ba%ab%e7%bf%92%e6%ba%ab%e7%98%8b %e4%ba%86/ http://www.popartuk.com/art/katsushika-hokusai/mount-fuji-in-clear-weather-red-fuji-1837ap788-poster.asp

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Sources

http://commons.wikimedia.org/wiki/Image:Hokusai_portrait.jpg http://upload.wikimedia.org/wikipedia/commons/7/7f/Meckenem.jpg http://www.uh.edu/engines/durer1.gif http://etc.usf.edu/clipart/4200/4255/printing-press_1.htm http://www.unm.edu/~tamarind/editions/cole_img.html http://www.millerblockgallery.com/artists/Imi_Hwangbo.shtml http://www.lacma.org/art/InstallMatisse.aspx

Images are for educational uses only

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