Warrington Colescott, an innovative printmaker who deftly navigated the intersection between tragedy and high comedy with biting etchings about civil rights, history, politics and the Internal Revenue Service (which audited him), died on Sept. 10 at his farmhouse in Hollandale, Wis., southwest of Madison. He was 97
His son, Julian, confirmed the death.
“Etching quickens the blood, lights up the eye, affects the satirical mind in the same way that a low-cut neckline affects Dracula,” Mr. Colescott wrote in a catalog for an exhibition of his prints at the Milwaukee Art Museum in 1996.
A Fulbright and Guggenheim fellow whose prints are widely collected, Mr. Colescott employed a figurative style that tinkered liberally with reality in wildly colorful, cartoonish and sometimes disquieting ways.
“In Birmingham Jail” (1963) was inspired by the bloody demonstrations in the Deep South against segregation in the 1950s and early ’60s. Its two panels show rows of darkened jail cells where protesters are beaten by grotesquely drawn police officers — images that Mr. Colescott interspersed with pictures of a girls choir and Bart Starr, the Alabama-born quarterback of the Green Bay Packers, his favorite team.
“Golly!” he says. “A big mother.” Beneath the jet, a whale is harpooned in the middle of an oil spill
“He was a dyed-in-the-wool Democratic progressive,” Mary Weaver Chapin, who curated a retrospective exhibition of Mr. Colescott’s prints at the Milwaukee Art Museum in 2010, said in a telephone interview. “And this was really an attack on Bush’s environmental policy.”
Mr. Colescott sometimes created series of etchings, like one about Lyndon B. Johnson’s Great Society, another about the bank robber John Dillinger and a third, “A History of Printmaking,” that reimagines historical moments in graphic arts involving Benjamin Franklin and artists like Rembrandt, Albrecht Dürer and Robert Rauschenberg.
In the riot of bellicose images that compose “Goya Studies War” (1976), Mr. Colescott shows Goya — the Spanish master who created a series of prints in the early 19th century called “The Disasters of War” — talking to a general and taking notes while a corpse is removed on a cart.
“What makes Colescott’s work so appealing is its mix of erudition and irreverence,” the critic Jennifer A. Smith wrote in 2010 in Isthmus, an alternative weekly newspaper in Madison, about an exhibition of his work that year at the city’s Grace Chosy Gallery. His prints, she added, were in the tradition of artists and social critics like William Hogarth and Honoré Daumier.
Warrington Wickham Colescott Jr. was born on March 7, 1921, in Oakland, Calif., to Creole parents from Louisiana. His mother, Lydia (Hutton) Colescott, was a schoolteacher who played the piano; his father, Warrington Sr., was a porter on the Southern Pacific Railroad and played the violin.
As a boy, Warrington was drawn to artifacts that his father brought him from fighting in France during World War I — like a gas mask and a dented helmet — and used them to play war with his friends and scare people on Halloween. He drew pictures, too, and was influenced by newspaper comic strips.
“My drawing style has, in many ways, remained constant since childhood,” he said in the book “Progressive Printmakers: Wisconsin Artists and the Print Renaissance” (1999), which he wrote with Arthur Hove. “The marks of the pen or brush spill out with a kind of attack. Ultimately, they all fuse together and become a narration.”
He drew cartoons for his high school newspaper and for the campus newspaper and humor magazine at the University of California, Berkeley, where he earned a bachelor’s degree in art. One of his cartoon creations was adapted into Berkeley’s mascot, Oski the Bear.
In 1942, Mr. Colescott was drafted into the Army and served in Okinawa late in World War II and in Korea as part of the postwar occupation. On his return, he got his master’s in art from Berkeley and began teaching drawing and painting at Long Beach Community College in California. He joined the University of Wisconsin-Madison in 1949, where he taught painting and printmaking for 37 years.
Mr. Colescott started out concentrating on painting and silk screens but became fascinated with etching after a year of study at the Slade School of Fine Art in London in the 1950s under his Fulbright grant. His initial etchings were abstract, but they soon evolved to a more figurative look that suited the events and figures he would illustrate.
Warrington Colescott Famous American Riots II : Railroad - 1969 Print - …
Warrington Colescott A Wild West: Wagon Train - 1969 Print - Lithograph …
Warrington Colescott Custard's Last Stand - 1969 Print - Lithograph on Arches …
Warrington Colescott A Wild West: High Noon for Hoot Gibson - …
Warrington Colescott A Wild West: Home on the Range - 1969 …
Warrington Colescott Music Medicine and Sport- 1966 Print - etching 18'' x …
In this new book from Rizzoli, the famed illustrator for Interview magazine and long-time Grace Jones collaborator takes the spotlight.
by Brienne Walsh
Most people assume that Andy Warhol designed the covers for Interview, the magazine he founded in 1969 with British journalist John Wilcock—and it’s no wonder they do, given that Andy Warhol’s signature is on every single one of them. But in actuality, it was the artist Richard Bernstein, a contemporary of Warhol’s and a vibrant member of New York’s downtown scene before his death in 2002, who created the magazine’s most iconic covers using a mixture of collage, photography, and paint that transformed the merely young and famous into absolute supernovas.
Limited Edition Prints by Richard Bernstein
Richard Bernstein Diamond Ring - 1977 Print - Silkscreen on Heavy Paper 30'' x 26'' Edition: Signed in pencil and marked from 200 This …
Richard Bernstein Ruby - 1978 Print - Silkscreen on Heavy Paper 30'' x 26'' Edition: Signed in pencil, titled, dated and marked 116/200 image size …
Made of welded stainless steel, this eye-catching sculpture is nearly 30 feet tall and weighs approximately 8,000 pounds. For comparison’s sake, the Firebird, outside Bechtler Museum of Modern Art, is about 17 feet tall.
This work has a special connection to Romare Bearden.
The artist, Richard Hunt, was a contemporary of Bearden. The two were the first African-American artists to have solo shows at the Museum of Modern Art, both in 1971.
Hunt drew inspiration from Bearden. In a statement, the artist said, “The ‘Odyssey’ in the title refers to Romare Bearden’s series of works that took Homer’s epic poem as a point of inspiration and departure. ‘Odyssey’ is also a way to refer to Bearden’s personal journey alone and with others, his peers, his artistic offspring and his world of admirers.
“‘Spiral’ in my title has multiple associations. One was his pivotal role in the joining together of African-American artists in 1963 in New York to share ideas on arts activism in the context of the Civil Rights Movement, the complexities of career development, and the art of politics. Also considered in the work is the widening, elevating spiral of Bearden’s multifaceted career which even in its legacy phase continues to ascend.”
In the upward swirl of “Spiral Odyssey” some shapes seem to suggest Poseidon’s trident or Athena’s spear.
The installation, which cost $305,000, was funded by a Mecklenburg County fund for public art, contributions from Duke Energy and Arts and Science Council, and grants from the National Endowment for the Arts and North Carolina Arts Council.
It’s too early to know if the new sculpture will become one of the iconic symbols of the city, but on a clear Sunday morning, a number of parents were already setting their kids up in front of it for photo ops, so it’s starting strong.
How to Frame a Print
Frames are used to enhance a work of art aesthetically, as well as to protect it from dirt, dust and handling.
Choose what pleases you but listen to the advice of professionals. The framed artwork will become part of your everyday environment, so be sure to choose frames and mats that you will enjoy.
Don’t frame the art to match a room in your house. Choose picture frames and mats that will enhance the work of art
- Archival: Archival framing means that all the materials involved in the process are completely acid-free. Your artwork is frframed to last.
- Double Mat: When mats are layered in a picture frame, the top mat forms the main border and the bottom mat is revealed slightly just around the image. Double mats are great to bring out an accent color in the piece and to give an extra sense of depth.
- Float on Frame: A stretched canvas painting that is attached on top of a moulding that has a flat back, but deep enough on the sides to contain the depth of the stretched canvas. The canvas is attached so that there is a natural gap between the art and the moulding. This gap creates a shadow between the art and moulding which gives depth to the completed piece. The gap generally ranges from 1/8″ to 3/4″.
- Float between Glass: Displaying art between two pieces of glass or acrylic. The margin between the art and outside of the glazing is clear so that the color and texture around the art becomes the wall color and texture.
- Float on Mat: Displaying art on top of a mat with the art edges showing. The artwork is sometimes elevated from 1/8″ to 3/8″ to create added depth. If the art has a deckled edge, showing all of the edges of the art makes the art appear like it was just completed by the artist.
UV Protection: Techniques for shielding art from exposure to ultraviolet light. Prolonged exposure to ultraviolet light from the sun or florescent lights can discolor and damage art. There are glasses, acrylics, and laminates that can be used to protect art from a high percentage of UV light.
Limited Edition Prints can be matted to show the edition and artist signature. A fillet can be used to bring definition and contrast between the mat and print. The Certificate of Authenticity should be pocketed on the back of the finished piece.
Posters are generally open edition prints with a white border and text. Posters can be framed in a variety of ways. One way is to remove the white border, select a double mat and appropriately colored thin, metal frame.
Original Oil and acrylic canvas paintings can be further enhanced with the proper framing. Glazing is not needed for preservation. With larger pieces, you can select a wider moulding or use streamline float framing for a clean, contemporary look.
Original Prints need special care for conservation. Lithographs, serigraphs, etchings, and woodblock prints require archival framing. Acid-free mats, linen tapes, and backing are recommended. Museum glass provides 99% UV protection while minimizing glare and distortion.
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