‘Print U.S.A.’

Press, 29 March 1984, Page 23

‘Print U.S.A.’

“Print U.S.A.” Prints at the Robert McDougall Art Gallery until April 22. Reviewed by John Hurrell. Thirty-four American artists are represented in this “Paperchase” exhibition, one which features the products of Autographic Print Publishing, works which are the products of co-operation between these artists and the technicians of Crown Point Press, the Ernest F. de Soto Workshop, and the Tamarind Institute. Two of these workshops specialise in lithographic techniques, while the Crown Point Press uses various intaglio methods, from photo etching to drypoint and aquatint.

Some of these prints are of a size never normally attempted in New Zealand,

because of the lack of resources here, in terms of equipment and expertise. William T. Willey’s “Now here’s that blame treaty” makes one marvel at the size of plate necessary to make this image, and the skill needed to manipulate the ink into the etched lines. This very large softground etching shows a room lit up with light from a glowing grid in the centre, with various animals, statues, machines, and references to art making, drawn and scribbled around it. A marvellously enigmatic and detailed work, it calls the viewer back for more and more inspections. There are some powerful works in this exhibition on the themes of global poli-

tics. Vito Acconci and Chris Burden, more known for their performance art, provide some stunning images presented on a very large scale. Acconci’s “Three Flags for one space and six sections” turns the gallery space into a metaphor for the world with an image of overlapping American, Russian, and Chinese flags. The flags seem to be burning on one side of this six-part photo-etching and lying in a street puddle on the other. Chris Burden’s “Atomic Alphabet” features lists of words associated with the dropping of the first atomic bombs. One column of words is in English, another in Japanese, and on the right hand side are etched drawings illustrating the words and coloured in with watercolour. A powerful plea for peace, this work contains a lot of humour and does not appear saccharine.

There are a number of stunning works in this excellent exhibition. Like all such group shows, it is frustrating that there are not more examples of each artist’s work, as this exhibition gives you just a taste. Some lithographs from the Tamarind and de Soto workshops become a little monotonous as a group, whereas the Crown Point Press artists have greater diversity in what they say and how they go about it. By no means an attempt at a survey of American printmaking, this show is essential viewing for anyone wondering about the position of our own work in relation to artists overseas.