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Sponsors of the Exhibition Publication
Jessica Dunne
The Turner Print Museum
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This exhibition explores the history of the relief print, which includes woodcuts, linoleum cuts and
wood engravings. And it explores this media in a limited geographic area—Northern California.
Within this narrow range is a powerful story of artistic techniques meeting in this mid-point
between the three great regions of relief printing—Japan, Mexico and Europe. But the story of
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along the way.
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such as William S. Rice who took what he saw in Japanese prints and created works that are
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adopted not only the technique, but also the aesthetic of the Japanese print.
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and the leftist politics of the time went on to focus on woodcut prints. A central meeting point for
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School eventually was shut down during the McCarthy era, and the Graphic Arts Workshop
emerged from its ashes. Both incarnations served as a home for many artists, including Emmy
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medium whose purpose was more expressive than illustrative.
Before World War II relief prints could be seen broadly to fall into the three categories of
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were new forces at work. The growth of the university art department, the rise of abstraction, the
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The GI Bill sent huge numbers of students to universities and greatly expanded the university
system. It would be hard to argue that a singular style emerged out of the university system, but
the range of teachers brought in from around the country added a new breadth of approaches.
Janet Turner, Sylvia Solochek Walters and Kathryn Metz all came from out of state to run
printmaking departments.
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artists producing abstract relief prints has been fairly limited. The medium, with its hard edges
of delineation, could have something to do with this. Such artists tend to ride the line between
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inspired abstractions.
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began inviting well known artists who often had no experience in making prints to create a work
with master printers. Usually the presses focused on etching, but occasionally woodcuts were
produced by artists including William Wiley and Robert Arneson.
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with printmakers associated with the 7DOOHUGH*UD¿FD3RSXODU in Mexico. In recent years more
artists, several of whom emigrated from Mexico, have pursued relief prints. These printmakers
have a distinctive style and subject matter that clearly suggests a shared vision. Their work also
I am a relief print artist myself, and the charting of this history is my way of searching for ancestors.
By placing the artists in this exhibition within categories, I hope to uncover deeper connections.
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described.
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