January 19, 1980
The energetic vibrancy and clean, distinctive color that characterize the paintings of Richard Anuszkiewicz are equally apparent in this first major study of the artist’s development as a printmaker. On view January 13 through March 9, 1980 at The Brooklyn Museum, Richard Anuszkiewicz: Prints and Multiples 1964-1979 traces Anuszkiewicz from his work with Josef Albers at Yale, to his reaction to the dynamism of the Abstract Expressionist movement, to his experiments with the technical possibilities of screen printing, lithography and etching.
Since he began printmaking in 1963, Anuszkiewicz has used the graphic media to further explore his theories about color. By allowing the viewer’s eye to mix pure colors, he manipulates lines and shapes of complementary and warm and cool colors to create active spatial effects.
In the accompanying catalog ($6.00), Anuszkiewicz comments on elements of his work that go beyond scientific theory. “There’s no reason why a set of colors or abstract shapes cannot convey feelings even stronger than a piece of realism. One can deal with visual symbols more easily if not restricted to familiar imagery. There’s no reason why an abstraction can’t remind you of a sunset or eclipse or any condition, any human condition.”
The exhibition of approximately 100 works was organized by The Sterling and Francine Clark Art Institute and the Williams College Graduate Program in the history of Art. Gene Baro, consulting Curator of Prints and Drawings at The Brooklyn Museum and a visiting member of the Williams College Faculty, directed the work of graduate students Cheryl Brutyan, Stephen Eisenman, and Edward Hopkins and senior undergraduate Nate Beckmeier.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1971 - 1988. 1980, 001. View Original
