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.
In this text, Uruguayan artist Luis Camnitzer recounts the experience of The New York Graphic Workshop. In addition to describing the early days of the group, he explains its three principal aims: 1) to redefine printmaking on the level of theory and practice; 2) to teach printmaking techniques in a manner consistent with that new definition; and 3) to show up as a group of artists in a brazen but elegant fashion. Camnitzer comments on, among other things, the manifestos published by the group, its various activities, and the reasons for its disbandment.
Between 1964 and 1965, Luis Camnitzer (b. 1937) founded the New York Graphic Workshop (NYGW), along with José Guillermo Castillo (b. 1938) and Liliana Porter (b.1941). The Workshop, as this article shows, was not only a studio for teaching and for printing editions by other artists, but also became a center for printmaking that [promoted] its significance at that time. This document presents one of the last lectures on the NYGW that Camnitzer gave almost forty years after its founding.