Date unknown, 1958:
The jury for the Brooklyn Museum Eleventh National Print Exhibition to be shown from April 15 to June 29 has just completed its selections from among some 1,200 prints submitted from 36 States. The exhibition will be circulated all over the country by the American Federation of Arts following its showing here. The jurors also selected 8 purchase awards which will be announced for release on opening day, April 15. The jury was composed of: Mrs. Herbert M. Rothschild, New York Collector; Mr. Will Barnet, artist and teacher at the Art Students League and Cooper Union; and Miss Una E. Johnson, Curator of Prints and Drawings for the Brooklyn Museum.
An illustrated catalogue of the exhibition is being prepared by Miss Johnson, who is organizing the exhibition.
The press preview will be on April 14.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1953 - 1970. 1958, 027.
April 14, 1958:
From 1,200 prints submitted by artists from 36 states, a jury has selected the work of 136 artists from 27 different States to be exhibited on the 2nd floor of the Brooklyn Museum, from April 15 through June 29. The show will then be circulated throughout the U.S. by the American Federation of Arts. The jury also selected 8 prints for purchase awards: by Edmond Casarella, Darrie Hammer, Philip Hicken, Mauricio Lasansky, George Miyasaki, Vevean Oviette, Jack Perlmutter and Richard Claude Ziemann. Una E. Johnson, the Museum’s Curator of Prints and Drawings, has directed the show, the eleventh National Print Exhibition which she has organized for the Museum over the past 11 years. She was also one of the jurors, along with Mrs. Herbert M. Rothschild, New York Collector, and Will Barnet, artist, and teacher at the Art Students League and at Cooper Union.
Heretofore entrants have been inclined to submit a preponderance of prints in the artist-juror’s favorite medium and technique, and certain artists working in other print techniques did not submit at all. This year the names of jurors were not announced in advance, with the result that a better and more evenly distributed cross-section was received.
Color is somewhat less evident than in recent previous years and, where used, is more subtle, less blatant. Individuality of work is readily apparent, due in part to the fact that the American artist generally prints his own work.
From California comes the largest representation next to New York State; these West Coast artists seem particularly strong in lithography and serigraphy. Most of the prints in the show tend towards large size, with the preponderance at 22 x 28” or 30 x 40”, and two which are outsize: a long, narrow serigraph nearly 7 feet high entitled VerticalCity, by Dorothy Bowman of California, and a colorful abstract woodcut 5 feet high by Thomas E. Cranmer, Jr., of St. Louis.
There are many well-known names represented in the exhibition, including among others Will Barnet, Casarella, who teaches in the Brooklyn Museum Art School, Antonio Frasconi, Peter Grippe, Misch Kohn, Chaim Koppelman, Mauricio Lasansky (with a striking self-portrait), Ethel Magafan, Boris Margo, Gabor Peterdi, Louis Schanker, Benton Spruance, Harry Sternberg and Peter Takal. But many newcomers and lesser known artists also passed the jury's scrutiny, such as purchase award winner George Miyasaki, a 23-year-old Hawaiian now working in Oakland, California, who contributes an unusually able color lithograph; May Janko of the Pratt Contemporaries in New York, with a color lithograph in personal mood; Richard Claude Ziemann of New Haven whose remarkably skillful etched landscape won him a purchase award; and two young artists who contributed sensitive portraits in black and white: Mimi Weisbord, a student in the Museum Art School, and Irwin Rosenhouse of New York. The exhibition’s range in style is from complete abstraction to skillfully executed illustration.
Miss Johnson states in her illustrated catalog of the show: “The quality of the exhibition is high, and although the work shows considerable technical assurance, the artist is not preoccupied merely with the variations and combinations of graphic processes.”