Various Artists, Allan D'Arcangelo, Jim Dine, Allen Jones, Gerald Laing, Roy Lichtenstein, Peter Phillips, Mel Ramos, James Rosenquist, Andy Warhol, John Wesley, Tom Wesselmann. 11 Pop Artists. 1966
Collaborating Artist
Allan D'Arcangelo, Jim Dine, Allen Jones, Gerald Laing, Roy Lichtenstein, Peter Phillips, Mel Ramos, James Rosenquist, Andy Warhol, John Wesley, Tom Wesselmann
Medium
Three volumes of 33 screenprints
Dimensions
composition and sheet (see child records): dimensions vary
Publisher
Original Editions, New York
Printer
Knickerbocker Machine & Foundry Inc., New York
Edition
200
Credit
Gift of Original Editions
Object number
274.1966.1-3
Type
Portfolio
Department
Drawings and Prints
This work is not on view.
There are 33 works  in this portfolio online.
Allan D'Arcangelo has 31 works  online.
Jim Dine has 216 works  online.
Allen Jones has 30 works  online.
Gerald Laing has 66 works  online.
Roy Lichtenstein has 146 works  online.
Peter Phillips has 4 works  online.
Mel Ramos has 8 works  online.
James Rosenquist has 101 works  online.
Various Artists has 159 works  online.
Andy Warhol has 241 works  online.
John Wesley has 17 works  online.
Tom Wesselmann has 36 works  online.
There are 21,456 prints online.

Printmaking, and in particular screenprint, was the basic medium for Andy Warhol's celebrated work on canvas and paper. While a prize-winning commercial artist in the 1950s, he devised a printing process of blotting outline drawings in ink from one surface to another. In a whimsical book of fashionable shoe styles, done at the time he was head of advertising at a shoe company, his blotted drawings were reproduced and then hand-colored by a team of friends.

Although Warhol adopted a bland, detached persona, he was an extremely energetic artist and self-promoter who played a significant role in redirecting the course of art. Rather than deriving his work from subjective personal feelings or idealist visions for abstraction, Warhol embraced popular culture and commercial processes. He eventually set up his own print-publishing company called Factory Additions, issuing portfolios of his signature themes. For Marilyn, he created ten highly variable portraits, exploiting the possibilities in screenprinting for shifting colors and off-register effects. By celebrating the seemingly impervious veneer of glamour and fame, but acknowledging its darker inner complexity, these prints reveal Warhol's subtle grasp of American culture.

Warhol did not participate in the collaborative printshop system established in America in the 1960s, but his work contributed decisively to what has been characterized as a "print boom" at that time. Through the course of his career, he made nearly eight hundred printed images on paper, about half published in traditional editions. He was also a surprisingly experimental printmaker, issuing hundreds of trial proofs and unique variants. The compositions that make up Camouflage, his last portfolio, constitute a playful commentary on abstraction. Through manipulation of scale and color from sheet to sheet, Warhol alters the visual impact of the military fabric used for concealment. In examples on canvas, he also superimposes his face, linking self-portraiture with disguise.

Publication excerpt from Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 162–163

Techniques and strategies of commercial printing are fundamental to the visual language of Roy Lichtenstein's celebrated Pop style. The Benday dots and regularized stripes he used for tone, the clarifying black outlines, the flat areas of bold primary color, and the simplification and schematization of his compositions are all elements embraced by consumer culture to create the inescapable printed imagery aimed at mass audiences.

The subject matter that first brought Lichtenstein's work to public attention was appropriated from comic strips, but his later themes owed their visual syntax to themes from "high" culture, particularly the history of modern art. Illustrated here are examples of his interpretations of German Expressionism and Art Deco, as well as the time-honored motif of landscape in art. In every case, his sense of irony is coupled with a strikingly positive spirit.

Printmaking was integral to Lichtenstein's practice from the time he was a student, and in the early 1950s he regularly entered regional print exhibitions. But it was his Pop style that attracted the professional workshops established in the 1960s, and his work was instrumental in the renaissance of American printmaking at that time. His mechanized aesthetic was particularly in keeping with the technical expertise offered at Gemini G.E.L., and his early collaborations there were undertaken with Kenneth Tyler, a printer he continued to work with at Tyler Graphics. Donald Saff, then of Graphicstudio, was another technical wizard who urged Lichtenstein to make prints. In all he created some three hundred fifty printed images, primarily with a series format that echoed his work in painting. In addition to traditional prints, he created ephemeral projects in the spirit of Pop art, like wallpaper, gift wrap, and paper plates, and also made many benefit prints and posters for social and political causes.

Publication excerpt from Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 168–169

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