By Walter Jule
Precarious stability studies at the most sensible new paintings in printmaking by means of artists from Canada and in another country. This assortment contains articles on printmaking via printmakers and paintings historians from Poland, Iceland, Austria, the USA, Canada, Japan, Yugoslavia, and nice Britain. Precarious stability is the second one in Walter Jule's PRINT VOICE sequence.
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Extra resources for Precarious Balance: Print Voice II
She has written frequently for Projekt magazine and is curator of the Vatican Antiquities Museum in Cracow. Different forms of graphic art, regardless of their medium and ultimate venue, whether a poster on the street or a print in a private folder, have one common denominatortechnology. In all cases, a mechanical process of multiplication and the same supporting material, paper, are used. But all the rest is a question of the individual expression and interpretation of the artist. The history of Polish poster art reveals Translation: Marytka Kosinski Jerzy Czerniawski Poster 100x70 cm 1974 Photo: Michal Sielewicz 23 and different trends through time, the fluctuation of artistic ideas, and the use of different techniques.
8x66 cm 1982 Notes 1. Gilles Daigneault, "Paul Beliveau chez Noctuelle; I'art baroque a Ottawa," Le Devoir (Montreal), 8 March 1986, p. 29. 2. Ibid. 3. Marie Delagrave, "Le peintre Beliveau et I'enfance revisite," Le Soleil (Quebec), 25 October 1986, p. D-7. 27 POLISH Danuta Wroblewska PRINTSS Danuta Wroblewska is a critic and editor formerly associated with one of Poland's largest publishing houses. She has written frequently for Projekt magazine and is curator of the Vatican Antiquities Museum in Cracow.
Prints like these, unfortunately, lose much of their impact when photographed, or even when being viewed in a glazed frame. Nakabayashi's Transposition '86, Earth—V is a notable casualty. I prefer his slightly earlier Transposition '84, Earth—II, which, on a theme of grasses on an intense black ground, prefigures his more recent work in its drive toward abstract darkness. I recommend anyone going to Tokyo to visit the Shirota Gallery which has a good stock of his works. They are a joy to handle and contemplate in the enlightened environment of 19 Kizashi Kakizaki Cherry Tree in School Garden Woodcut 46 x 69 cm 1987 Seiko Kawachi '84 Katsura (XII) Woodcut 71 x51 cm 1984 Not in exhibition one of Japan's most sophisticated print galleries.