What is a Print? At the Escalette Collection, we have a large collection of prints, including lithographs, screenprints, and letterpress prints. But what do these terms actually mean, and what is the process behind creating them? Definition of a Print Before we jump into the specifics, let us cover the basic definition of a print.
The Escalette Collection is proud to announce our Spring 2020 exhibition: Creativity After Combat February 3rd – August 31st, 2020 Henley Galleria, Argyros Forum, Second Floor This exhibition honors veterans, past and present, and explores the unique ability of visual art to capture aspects of the veteran experience. It is not widely appreciated that many
Roy Lichtenstein’s work Mirror #5 is a part of the Escalette Permanent Collection here at Chapman University. This piece can be found on the 3rd floor of Beckman Hall, located on main campus. Upon first glance, this work does not appear to be a typical Lichtenstein print, as it lacks his typical pop art characters and
With Black History Month upon us, many talented artists of color come to mind, including L.A. based artist Mark Bradford. We are fortunate to have a few Mark Bradford lithographs in the Escalette Collection that give us a glimpse into Bradford’s large body of work. Despite the often political angle to his art, Bradford’s work
Upon browsing the Escalette Collection, one might begin to notice a strange trend in media: lithography. Everybody’s doing it; from Ann Hamilton to Roy Lichtenstein, the medium seems to be a favorite. But what exactly is a lithograph? And how on earth do you make one? Let’s take a look! Lithography, a fairly young medium in
According to the Merriam-Webster Dictionary, the word “modern” is defined as, “of or relating to the present time.” The word “contemporary” is defined as “happening or beginning now or in recent times.” While these definitions may appear to be similar or even nearly identical, in terms of art genres, they are very incongruent. The modern art movement began in the 1860’s
With Ann Hamilton’s Warp & Weft II, mundane materials (paper, ink) and mundane subject matter (a textile, drawn thin) expand in the imagination to the level of the sublime. Philip Pedersen (Senior, Screen Acting/English) and Jacob Walker (Senior, Screenwriting/Television) were drawn in by the painterly lithograph’s subtle pull, and attempted to find adequate metaphors to
Baldessari’s Discontent? II Like Rebecca Malkin, Junior Communication Studies major Raphaelle Canaan also sees discontent in Baldessari’s Accordionist (With Crowd) of 1994. However, in her reading that discontent is counteracted by the accordionist’s autonomy, leading her to argue that the work ultimately has a positive message. Faces in a Crowd Baldessari’s Accordionist (With Crowd) shows
Baldessari’s Discontent? Part I For their first formal analysis assignment, several students in ART 261 chose to write about John Baldessari’s 1994 lithograph Accordionist (With Crowd). Grace Jones (Freshman, History) explains why determining meaning in Accordionist (With Crowd) is so challenging: “Each face in the “crowd” is concealed by a large, colorful dot, giving viewers
To many, white may represent ‘nothing’ – the absence of color, shape or form of any kind. However, white can reveal its own complexities and meanings just as any color can. Artists Mary Corse and Sam Francis use plenty of white in their work, challenging our perceptions of negative space, and creating new interpretations of