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Looking Back on the New York Graphic Workshop, 1964 –1970
Organized in association with IFPDA, this symposia presented by the Association of Print Scholars explores the past, present, and future of printmaking studio practices, specifically examining how the medium has evolved conceptually, culturally, and as a dialogic artistic practice.

Organizer/Discussant: Nora Rosengarten (Harvard University)
Participants: Luis Camnitzer (Artist-Printmaker), Ursula Davila-Villa (Independent curator and art historian), Liliana Porter (Artist-Printmaker)

This panel will consider the work and legacy of the New York Graphic Workshop, a printmaking collective operative from 1964 to 1970. Together, printmakers Luis Camnitzer (b.1937), José Guillermo Castillo (1938-1999), and Liliana Porter (b. 1941) devoted themselves to producing conceptual pieces indebted to printmaking and its labor-intensive processes. Even as they were committed to traditional methods, the NYGW often bent lithography, etching, and engraving away from their conventions, toward new questions, problems, and ideas. As Camnitzer stated in 1966: “We are printmakers conditioned but not destroyed by our techniques.”
Association of Print Scholars is a non-profit organization that facilitates dialogue on printmaking and encourages innovative scholarship on prints among curators, artists, dealers, scholars, conservators, graduate students, and print-enthusiasts.

Oct 13, 2021 12:00 PM in Eastern Time (US and Canada)

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Nora Rosengarten
@Harvard University
Nora Rosengarten is a Ph.D. candidate at Harvard University, where she studies prints and printmaking from the eighteenth century to the present. Rosengarten holds a B.A. from Georgetown University (2014) and an M.A. from the Williams College Graduate Program in the History of Art (2019). She has held internships at the Phillips Collection, the Cleveland Museum of Art, and the Sterling and Francine Clark Art Institute, where she also worked as Curatorial Assistant from 2019–20.
Luis Camnitzer
Luis Camnitzer is a German-born Uruguayan artist and writer who moved to New York in 1964. He was at the vanguard of 1960s Conceptualism, working primarily in printmaking, sculpture, and installations. Camnitzer’s artwork explores subjects such as repression under systems of power, pedagogical norms, and the deconstruction of familiar frameworks. His humorous, biting, and often politically charged use of language as an art medium has distinguished his practice for over five decades.
Ursula Davila-Villa
Independent curator and art historian
Ursula Davila-Villa is an art historian and independent curator working with artists and their families on studio management, legacy planning, and stewardship. She completed her M.A. in Museum Studies at New York University, and holds a B.A. in architecture and urbanism from the Instituto Tecnológico y de Estudios Superiores de Monterrey, Mexico, the Université Laval, Quebec, Canada, and the Technische Universiteit Delft, Netherlands. She has served as a juror for United States Artists, the National Endowment for the Arts, Fundação Iberê Camargo, Museo de Arte Carrillo Gil, Artist Pension Trust, and the II Texas Biennale. She has served on the board of VisualAIDS since 2019.
Liliana Porter
Liliana Porter studied at the Escuela Nacional de Bellas Artes in Buenos Aires (1954–58) and the Universidad Iberoamericana in Mexico City (1958–61). She has lived in New York since 1964. Her diverse oeuvre comprises printmaking, works on canvas, and time-based media, as well as installations and public art projects. Porter was awarded a John Simon Guggenheim Memorial Foundation Fellowship (1980) and has also been the recipient of three New York Foundation for the Arts Fellowships (1985, 1996, 1999), in addition to numerous other honors. She served as a professor at Queens College, City University of New York, between 1991 and 2007. Her work belongs to several major public and private collections internationally.