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.
With a brief introduction on the role of the intaglio technique in printmaking history, which was the dominant form of reproduction of paintings and drawings beginning in the 16th century, author Roy Sieber introduces the Iowa Print Group. This group has, he contends, not only given “a new direction” to intaglio, they have also renewed the traditional principles of intaglio technique by generating creative invention through the process of working the metal plate. Sieber recounts that the Iowa Print Group began its activities in 1945 when Mauricio Lasansky was invited by the University of Iowa as a visiting lecturer to reorganize its graphic arts department. He attests to the success of its members, noting that their work has appeared in three group shows since 1947 and has garnered almost fifty percent of prizes in juried print exhibitions since this date. This essay also includes a brief biographical note on Lasansky, as well as a summary of the group’s activities during the year 1951.
This text by the critic and art historian Roy Sieber appeared in Print magazine in January 1952. It is one of the first articles identifying the impact that Mauricio Lasansky and the students he was training at the University of Iowa were having in reviving the field of printmaking in the United States. 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.