Exhibition displays advances in etching

On Feb. 1, the Davison Art Center held an opening reception for its new exhibition, “Etching Since 1950.” Curator of the Davison Art Center Clare Rogan, who put the show together, gave a gallery talk that explained the development of etching in the latter half of the 20th century.

“Last fall, I saw an exhibition on etching in the 16th and 17th centuries, and I started to ask myself what has been happening in the medium in the last fifty years,” Rogan said. “This was the starting point for the exhibition.”

The far left wall of the gallery exhibits the earliest prints. Most of the pieces were produced in Stanley William Hayter’s renowned New York workshop, Atelier 17. The etchings continue around the exterior walls of the space, illustrating changes in etching over the past fifty years. In addition to the chronological display, a free-standing wall in the interior of the room showcases particular prints, allowing the viewer to examine a large variety of pieces despite the small space.

Some of the most interesting works include Elizabeth Murray’s “Shoes” (1989-90), an etching done in seven colors using seven copper plates, and Yvonne Jacquette’s “Untitled, Lake Shore Drive” (1997), which reverses the inking process that is most commonly used for intaglio prints. The pieces in the exhibition range from small etchings to large, along with more experimental works created with the assistance of propane torches and power tools. The etchings display a wide range of techniques that include Jim Dine’s addition of hand painted brushstrokes in “Boulevard Victor, Double Sky” (1984) and Stanley William Hayter’s “Feux d’artifice/Fireworks” (1958). According to the exhibition label, Hayter’s piece typifies the complex technique he had developed by the late 1950s.

Hannah Freece ’09, who assisted Rogan with the show’s installation, commented on the challenges and rewards of organizing the exhibition.

“It was really interesting to organize an exhibition by technique or medium rather than content or style,” Freece said. “Clare had already chosen the pieces that would be in the show, and she wanted them to be generally chronological, but it was still challenging for us to group them in such a way that they made sense given the variety of subject matter.”

The University’s print collection is one of the best in the country, thanks in part to large-scale print and monetary donations bequeathed by George Davison, class of 1892. Additionally, the Friends the Davison Art Center provide a large portion of the acquisition budget through fundraising. The collection’s range and excellence allowed the entire exhibition to come from the University’s own print archive.

“Etching Since 1950” runs until Thursday, March 8, 2007, and can be viewed Tuesday through Sunday from 12-4 p.m. Visiting Assistant Professor of Art Kate TenEyck and Professor of Art David Schorr will give a demonstration of etching technique and intaglio printing in the CFA printshop on Wednesday, Feb. 28 2007 from 7-8 p.m. A reception and special viewing of the exhibition sponsored by the Friends of the Davison Art Center will follow, from 8-9 p.m.