London-New York-Hollywood : a newLondon-New York-Hollywood : a newlook in prints : an exhibition organizedlook in prints : an exhibition organizedby the Museum of Modern Art, New Yorkby the Museum of Modern Art, New York: the Museum of Modern Art, New York,: the Museum of Modern Art, New York,September 20-Nov. 6, 1966 September 20-Nov. 6, 1966 Institute ofInstitute ofContemporary Art, Boston, Dec. 2,Contemporary Art, Boston, Dec. 2,1966-Jan. 8, 19671966-Jan. 8, 1967[Molly Rannells, editor][Molly Rannells, editor]

Date

1966

Publisher

Institute of Contemporary Art

Exhibition URL

www.moma.org/calendar/exhibitions/1726

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is

available online. It includes exhibition catalogues,

primary documents, installation views, and an

index of participating artists.

© 2017 The Museum of Modern ArtMoMA

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.,:iS.^vAi3Sa;*Xob<5o Tn-HewYork-Hollywood: A New Look mPrint s," wast organized by The Mu-seurrt of Modern Art, New York.1 The sixteen artists representedare: Jim Dine* Richard Hamilton,David Hoekney, Jasper Johns,Alien Jones, R. B. Kitaj, RoyLichtenstein, CInes Oldenbnrg,Ednnrdo PaoloKzi, Peter Phutips.Robert Rauschenberg,Qmar Rayo,Larry Rivers, James RosenqOist,Joe Tiison, and Tom Wesseimanm

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London-New York-Hollywood: A New Look in Prints

An exhibition organized by The Museum of Modern Art, New York

The Museum of Modern Art, New York

September 20 — November 6, 1966

Institute of Contemporary Art, BostonDecember 2, 1966 — January 8, 1967

Copyright, 1966, Institute of Contemporary Art, 100 Newbury Street, Boston, Massachusetts

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PHILLIPS, 38. Custom Print I, 1965(The Museum of Modern Art, New York, gift of Original Editions]

Acknowledgments

The Institute expresses its appreciation

to The Museum of Modern Art, New York, forenabling this special Boston showing of theexhibition, "London-NewYork-Hollywood: ANew Look in Prints," and for granting permission to the Institute to publish in catalogform the related materials, namely, the introductory statement, descriptive listings, andphotographs of the works;

to William S. Lieberman, Director, Department of Drawings and Prints, The Museum of

Modern Art, who assembled the exhibitionand wrote the catalog statement, for personally supervising loan arrangements; and tohis assistant, Riva Castleman, who compiledthe catalog listings, for special attention tonumerous details;

to the lenders, the estate of Frank O'Hara,The Museum of Modern Art, Editions Alecto,and Universal Limited Art Editions, for graciously prolonging their loans;

and — for extending financial supporttoward the publication of this catalog —the Institute acknowledges the generosityof two commercial galleries, both of Boston,now showing related contemporary prints:the Harcus/Krakow Gallery, whose specialty is graphic arts produced by majorcontemporary artists, among them the grouppublished by Editions Alecto, London, whoseregional franchise it holds; and the EleanorRigelhaupt Gallery, whose present exhibition comprises selected lithographs fromUniversal Limited Art Editions, New York,which it regularly represents in NewEngland.

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KITAJ, 28. Acheson Go Home, 1963{The Museum of Modern Art, New York, Dorothy B. and Joseph M. Edinburg Fund)

DINE, Tool Box, 1966, cf. catalog nos. 2-8(The Museum of Modern Art, New York,gift of the Celeste and Armand Bartos Foundation)

WESSELMANN, 50. Cut Out Nude, 1965 (The Museum of Modern Art, New York, gift of Original Editions)

HOCKNEY, 15. Picture of Melrose Avenue with an Ornate Gold Frame, 1965(The Museum of Modern Art, New York)

RAYO, 41. Madison Avenue, 1963(The Museum of Modern Art, New York, gift of David Rockefeller)

PAOLOZZI, 35. Wittgenstein in New York, 1965 (Editions Alecto, London)

Statement

The distances between the capitals of the world, particularly its swinging cities, have become short indeed. It is notso uncommon today that artists partake of more than onecountry. This is particularly true of several British andAmerican painters and sculptors most of whom are relativelyyoung. The American painter Jim Dine and the British painterDavid Hockney, for instance, live and work with equal facility on both sides of the Atlantic, as well as on the WestCoast. For the past ten years the American painter R. B.Kitaj has made London his permanent address. The Britishpainters and sculptors Richard Hamilton, Allen Jones, EduardoPaolozzi, Peter Phillips, and Joe Tilson find inspiration in thearchitecture of New York and the landscape of Hollywood.The frequency of such exchanges is comparatively recent:the results have been spontaneous, enthusiastic, and oftenwitty.

This exhibition consists of the work of sixteen artists,six of whom are British, nine American, and one, a Colombianwho lives in New York. Their attitudes are often similar andare sometimes best articulated by their prints, many of whichare conceived in series. A larger selection might include artists working in abstract styles; this small exhibition, however, is limited to those who speak in a realistic idiom oftenaccentuated by "pop." Their serigraphs and lithographs lookfresh and vigorous. Their iconography frequently derivesfrom the intense and pedestrian, even vulgar, realism ofeveryday American culture.

To the British the United States may seem more exoticthan does England to an American. Richard Hamilton, DavidHockney, Eduardo Paolozzi and Joe Tilson celebrate suchdiverse monuments of Manhattan as The Solomon R. Guggenheim Museum and the Rainbow Room, the street and stellar

attractions of Hollywood and, simply, the American housewifebeset by impedimenta.

A decade ago "fine prints" were seldom associated withthe avant-garde. Today, however, the example of one of itsprincipal exponents in the United States, Jasper Johns, established a precedent of involvement with printmaking whichseveral artists in London and New York have been quick to follow. They do not seek inspiration in the exalted. They discovertruth in the imagery of mass media whose visual languageand distribution blatantly or subtly but always constantlyassault they eye; in the new folklore of science fiction andcomic books; in commercial advertising and trademarksprinted and televised; in ordinary and anonymous objectssuch as book matches and household appurtenances.

The exhibition's subtitle, "a new look in prints," indicatesthe sometimes unexpected physical appearance of the worksthemselves as well as the new and different media whichhave become part of modern printmaking. Today the distinction between sculpture and painting is frequently difficult todetermine. This is also true of printmaking which has movedinto a third dimension. Several artists, as printmakers, freelyemploy collage and assemblage, formal elements usually associated with painting and sculpture. Others have been anxiousto exploit technological devices perfected by industry. Ofthese, Robert Rauschenberg's Shades (1964] was perhaps apioneer effort.

Rauschenberg's Shades consists of movable plastic parts,subject to unrestricted rearrangements, and a stationary titleplate, contained within an aluminum case and illuminated byan electric light bulb. Each individual plate consists of a lithograph printed on plexiglas. Two other American artists, ClaesOldenburg and Tom Wesselmann have also experimented successfully with impressions on plexiglas and vinyl and theresults are often as much sculptural objects as they are multipleprints.

Even when printed on paper some of the prints appearextraordinary. One serigraph by Joe Tilson measures six andone half feet high, another is actually a relief. Two impressions by Omar Rayo are uninked, two lithographs by AllenJones are designed to be folded, four more defy the conventional rectangle of the traditional print. A landscape by RoyLichtenstein is screened on metallic paper. Jasper Johns star-tlingly and eloquently employs details of his own anatomy, afoot, a hand, and a face. R. B. Kitaj's mysterious incantationsreassemble words and pictures into strange densely printedcomplex patterns and, incidentally, contain references to suchnotable historical personages as Audubon, Isadora Duncan,Jack London, Claude Monet, and Rasputin. David Hockneyprints a frame around his pictures of pictures. Photographs,advertisements, words, numbers, bits and fragments of allsorts are stripped from their original context and are redrawnor rearranged. Frequently what the artists print has alreadybeen printed. They are not concerned with the chemistry of"fine" printmaking; their primary interest is in the image asit is finally realized.

William S. LiebermanDirector, Department of Drawings and PrintsThe Museum of Modern Art

RAUSCHENBERG, 39. Shades, 1964(The Museum of Modern Art, New York, gift of the Celeste and Armand Bartos Foundation)

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RIVERS, 43. French Money, 1965(The Museum of Modern Art, New York, gift of Lester Avnet)

OLDENBURG, 34. Teabag, 1966(The Museum of Modern Art, New York, gift of Lester Avnet)

Catalog

Dimensions are given in inches; height precedes width precedes depthThe abbreviation MMA stands for The Museum of Modern Art, New YorkCatalog numbers 43 and 44 were not shown in the New York exhibition

JIM DINE (American, born 1935)1. Eleven Part Self Portrait (Red Pony). New York, 1965, Lithograph,

printed in 2 colors (imp. 1/13), 39% x 29%. Published by UniversalLimited Art Editions. Collection MMA, gift of the Celeste andArmand Bartos Foundation.

2-8. Tool Box. London (1966). Seven from a portfolio of 10 serigraphswith collage, printed in color (ed. 150), 23% x 1878. Published byEditions Alecto, London. Collection MMA, gift of the artist.

RICHARD HAMILTON (British, born 1922)9. Interior. London, 1964. Serigraph, printed in 5 colors (imp. 1/4),

19Yu x 25y8. Collection MMA, gift of Mrs. Joseph M. Edinburg.

10. Guggenheim. London (1965). Serigraph, printed in 5 colors (imp.1/50), 22y2 x 22. Collection MMA, purchase.

11. My Marilyn. London, 1966. Serigraph, printed in 9 colors (imp.21/75), 20% x 2478. Collection MMA, purchase.

DAVID HOCKNEY (British, born 1937)12-16. A Hollywood Collection. Los Angeles, 1965. Five from aportfolio of 6 lithographs (imp. 23/85). Published by EditionsAlecto, London. Collection MMA, purchase.

12. Picture of a Still Life which Has an Elaborate Frame. Los Angeles,1965. Lithograph, printed in 7 colors (imp. 23/85), 30y8 x 22%.

13. Picture of a Landscape in an Elaborate Gold Frame. Los Angeles,1965. Lithograph, printed in 5 colors (imp. 23/85), 30'/8 x 22yw

14. Picture of a Portrait of a Ticket Taker in a Silver Frame. LosAngeles, 1965. Lithograph, printed in 4 colors (imp. 23/85), 30y8 x22%.

15. Picture of Melrose Avenue with an Ornate Gold Frame. LosAngeles, 1965. Lithograph, printed in 5 colors (imp. 23/85), 30y8 x22%.

16. Picture of Pointless Abstraction Framed Under Glass. Los Angeles,1965. Lithograph, printed in 6 colors (imp. 23/85), 30'% x 22'%.

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JASPER JOHNS (American, born 1930]17. Skin with O'Hara Poem. New York, 1963-65. Lithograph (artist's

proof), 21 x 33Vi4. Published by Universal Limited Art Editions.Lent by The Estate of Frank O'Hara, New York.

18. Pinion. New York, 1965-66. Lithograph, printed in 5 colors (imp.1/36), 38y,4 x 24y2. Published by Universal Limited Art Editions.Collection MMA, gift of the Celeste and Armand Bartos Foundation, New York.

19. Two Maps I. New York, 1965-66. Lithograph (imp. 1/30), 31% x 25%.Published by Universal Limited Art Editions. Collection MMA,gift of the Celeste and Armand Bartos Foundation.

20. Two Maps II. New York, 1966. Lithograph (imp. 1/30), 25%4 x 20%.Published by Universal Limited Art Editions. Collection MMA,gift of the Celeste and Armand Bartos Foundation.

21. Passage. New York, 1966. Lithograph, printed in 5 colors (imp.1/21), 26 x 33. Published by Universal Limited Art Editions. Collection MMA, gift of the Celeste and Armand Bartos Foundation.

R. B. KITAJ (American, born 1932J28. Acheson Go Home. London (1963). Serigraph, printed in 10 colors

(imp. 28/40), 28% x 21. Collection MMA, Dorothy B. and JosephM. Edinburg Fund.

29. The Flood of Laymen. London (1964). Serigraph, printed in 10colors (imp. 38/70), 30%4 x 18%- Collection MMA, purchase.

30. World Ruin through Black Magic. London (1965). Serigraph in twoparts, printed in 17 colors (imp. 3/70), 49% x 34% (total comp.).Collection MMA, purchase.

31. Heart (as in "he has heart"). London (1966). Serigraph, printed in10 colors (imp. 43/70), 21 x 29. Collection MMA, purchase.

JOHNS, 18. Pinion, 1965-66(The Museum of Modern Art, New York,gift of the Celeste and Armand Bartos Foundation)

ALLEN JONES (British, born 1937]22. Green Yellow. Los Angeles, Tamarind Workshop, 1966. Litho

graph, printed in 4 colors (trial proof), 30 x 22%. Lent by EditionsAlecto, London.

23. His and Hers. Los Angeles, Tamarind Workshop, 1966. Lithograph, printed in 4 colors (trial proof), 30% x 22%. Lent by Editions Alecto, London.

24-27. Bus Suite. Los Angeles, Tamarind Workshop, 1966. Four from aseries of 5 lithographs, printed in colors (trial and artist's proofs),25 x 22%. Lent by Editions Alecto, London.

HAMILTON, 9. Interior, 1964 {The Museum of Modern Art, New York, gift of Mrs. Joseph M. Edinburg)

LICHTENSTEIN, 33. Moonscape, 1965 (The Museum of Modern Art, New York, gift of Original Editions)

TILSON, 46. Luffaerg and Hickenbacker, 1963(The Museum of Modern Art, New York)

ROY LICHTENSTEIN (American, born 1923]32. Brush Stroke. New York (1965). Serigraph, printed in 3 colors

(imp. H.C.O.), 22% x 283/8- Collection MMA, John B. Turner Fund.

33. Moonscape from 11 Pop Artists I, a portfolio of 11 prints by various artists. New York, 1965. Serigraph, printed in 3 colors onmetallic plastic (imp. 96/200), 19% x 24. Collection MMA, gift ofthe publisher, Original Editions.

CLAES OLDENBURG (American, born 1929]34. Teabag from Four on Plexiglas, a series of 4 prints by various

artists. New York (1966). Serigraph, printed in 2 colors on felt,plexiglas, and plastic, with felt bag, plastic disc and rayon cardencased in plexiglas (imp. 15/125), 39s/14 x 28y]4. Published byMultiples, Inc. Collection MMA, gift of Lester Avnet.

EDUARDO PAOLOZZI (British, born 1924]35. Wittgenstein in New York from the portfolio As Is When. London,

1965. Serigraph, printed in 11 colors (imp. 17/65), 30 x 21 y8. Lentby the publisher, Editions Alecto, London.

36. Wittgenstein at the Cinema Admires Betty Grable from the portfolio As Is When. London, 1965. Serigraph, printed in 8 colors(imp. 17/65), 325/8 x 193/4. Lent by the publisher, Editions Alecto,London.

PETER PHILLIPS (British, born 1939]37. Custom Print. Los Angeles, Tamarind Workshop, 1965. Lithograph,

25y,4 x 19%. Lent anonymously.

38. Custom Print I from 11 Pop Artists I, a portfolio of 11 prints byvarious artists. New York, 1965. Serigraph, printed in 5 colors onsilver paper (imp. 96/200), 24 x 20. Collection MMA, gift of thepublisher, Original Editions.

ROBERT RAUSCHENBERG (American, born 1925]39. Shades. New York, 1964. Object consisting of five movable and

one stationary lithographed plexiglas plates (imp. 1/24), 153/]4 x14% x 11%. Published by Universal Limited Art Editions. Collection MMA, gift of the Celeste and Armand Bartos Foundation.

40. Shades. New York, 1964. Object consisting of five movable andone stationary lithographed plexiglas plates (imp. 15/24), 153/14 x14% x 11%. Lent by the publisher, Universal Limited Art Editions,West Islip, New York.

OMAR RAYO (Colombian, born 1928. Lives in New York)41. Madison Avenue from the portfolio Made in U.S.A. New York

(1963). Inkless intaglio (imp. 3/10), 26% x 16y,4. Collection MMA,gift of David Rockefeller.

42. Manhattan King Size from the portfolio Made in U.S.A. New York,1963. Inkless intaglio (imp. C/A No. 10/10), 26% x 18%. CollectionMMA, gift of David Rockefeller.

LARRY RIVERS (American, born 1923)43. French Money from Four on Plexiglas, a series of 4 prints by

various artists. New York, 1965. Serigraph, printed in 11 colors,with plexiglas collage (imp. 15/125), 30'/w x 32. Published byMultiples, Inc. Collection MMA, gift of Lester Avnet.

44. Stravinsky II. New York, 1966. Lithograph, printed in 12 colors(1/21), 28'/8 x 40%. Published by Universal Limited Art Editions.Collection MMA, gift of the Celeste and Armand Bartos Foundation.

JAMES ROSENQUIST (American, born 1933)45. Circles of Confusion I. New York, 1965-66. Lithograph, printed in

4 colors (imp. 1/12), 34'/2 x 25"/^. Published by Universal LimitedArt Editions. Collection MMA, gift of the Celeste and ArmandBartos Foundation.

JOE TILSON (British, born 1928)46. Lufber g and Rickenbacker. London, 1963. Serigraph, printed in B

colors (imp. 31/40), 27% x 19y2. Collection MMA, purchase.

47. Rainbow Grill. London, 1965. Serigraph, printed in 6 colors onpaper and vacuform plastic (imp. 64/70), 24 x 24. Collection MMA,purchase.

48. P.C. from N.Y.C. London (1965). Serigraph in 3 parts printed in 13colors (imp. 6/70), 78 x 22. Collection MMA, purchase.

TOM WESSELMANN (American, born 1931)49. Still Life, 1965 from New York 10, a portfolio of 10 prints by

various artists. New York (1965). Inkless intaglio and pencil (imp.P/Y), 15% x 20%. Published by Tanglewood Press. Collection MMA,Law Foundation Fund.

50. Cut Out Nude from 11 Pop Artists I, a portfolio of 11 prints byvarious artists. New York (1965). Serigraph, printed in 6 colorson vacuform plastic (imp. 96/200), 77/b x 16%. Collection MMA,gift of the publisher, Original Editions.

ROSENQUIST, 45. Circles of Confusion I, 1965-66(The Museum of Modern Art, New York,gift of the Celeste and Armand Bartos Foundation)

Institute of Contemporary Art

TrusteesNathaniel Saltonstall, Honorary President,Arthur K. Solomon, President, Stephen D.Paine, Vice President, Miss Amelia Peabody,

Vice President, Charles C. Withers, Treasurer, Philip H. Walker, Secretary, Sue M.Thurman, Director

Stanford M. Calderwood, Louis I. Kane,Kerry R. Lyne, Irving W. Rabb, Joseph P.Richardson, Richard H. Solomon, Mrs. MaxWasserman, Philip S. Weld

StaffSue M. Thurman, DirectorAllegra E. Burns, Information Er Sales, Vir

ginia Gunter, Art Rental Associate, PollyHolihan, Publicity Coordinator, Susan C.Perry, Administrative Associate, Molly Ran-

nells, Exhibitions Coordinator

Credits

PhotographyMalcolm Varon, except for no. 39, RudolphBurckhardt, nos. 17 and 41, Rolf Petersen,and nos. 35 and 43, unidentified

CatalogMolly Rannells, Editor, Harold Thurman, Designer, General Composition Company, Typesetter, State Street Press, Printer

JONES, Bus Suite, 1966, cf. catalog nos. 24-27(Editions Alecto, London)

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Institute of Contemporary Art

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