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.
This is the first manifesto of the New York Graphic Workshop (NYGW). It proposes a redefinition of the concept of engraving.
Luis Camnitzer (b. 1937), along with José Guillermo Castillo and Liliana Porter (b. 1941), founded the New York Graphic Workshop (NYGW) in New York City during the winter of 1964-65. In addition to functioning as a teaching workshop and a printing house for other artists, this undertaking served as a place for discussion of the nature of engraving and its contemporary reach and characteristics, as can be observed in this 1964 manifesto. The document reinterprets “engraving” and entails an expanded, conceptual-like vision of the art form. In this manner, the idea of “edition” displaces the relevance of “impression,” as well as “the artisanal” (an idea traditionally associated with engraving) becomes the mere conveyor for “creation.” NYGW’s philosophy regarding engraving should be understood within the general international framework of discussion for this art form, which was observable between the mid 1950s and the early 1960s. Around 1970 the NYGW ceased operating and in 1975, Porter and her then husband, Camnitzer, founded the Camnitzer-Porter Studio in Valdottavo, Lucca, [Italy]. After the couple separation, the workshop continued to function under the name Studio Camnitzer.