The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The author looks at Mauricio Lasansky's artistic development, arguing that his style progressed and matured parallel to that of the Abstract Expressionists, and that, despite following a representational and figurative stylistic trajectory, it shares a like-sensibility that responded to social, cultural, and economic forces of the times. To build his case, the author looks at early contacts with Surrealists at Atelier 17 in New York where Lasansky met [Roberto] Matta, [Marc] Chagall, [Willem] de Kooning, [Robert] Motherwell, and [Jackson] Pollock among others, and examines how this influenced subsequent artistic periods of mythological surrealism, abstract surrealism, and figurative work that expressed his love of humanity and grief over suffering.
This essay was published in the catalogue for the retrospective of Mauricio Lasansky’s prints and drawings organized by the University of Iowa Museum of Art in 1976. Considered one of the foremost figures in twentieth-century printmaking in the United States, the Argentinean-born Lasansky moved to the United States after receiving a Guggenheim Fellowship in 1943. He worked in [Stanley William] Hayter’s Atelier 17 in New York, and in 1945 began teaching at the University of Iowa, where he established a printmaking program. He was a member of the Iowa Print Group, and trained generations of printmakers. In this essay, I. Michael Dannoff, acting director of the Milwaukee Art Center, in Wisconsin, attempts to legitimize both Lasansky’s work and printmaking during the 1970s, a time in which Abstract Expressionism dominated historical accounts of American art of the 1950s.