We stand in solidarity with the uprising unfolding across the country following the murders of George Floyd, Breonna Taylor, Tony McDade, Nina Pop, Jamel Floyd, and those affected by generations of structural violence against Black communities.

We're putting together a list of resources for self-education, mutual aid, and ongoing action in the struggle for racial justice.

The Brooklyn Rail

DEC 19-JAN 20

All Issues
DEC 19-JAN 20 Issue
Critics Page

Writing on Stones

Terry Winters, Red Stone, 2019. Lithograph in 3 colors on Revere Standard White Felt paper, 51 5/8 x 39 inches. Courtesy ULAE.

My introduction to printmaking began in the fall of 1982, coinciding with my first painting exhibition. Bill Goldston invited me to work with ULAE. I admired the studio and welcomed the chance to try something new. I had never actually made a print myself. Bill’s idea was to start with lithography. That made some sense, since my drawing materials at the time included litho crayon. The crayon had a density and thickness beyond graphite, charcoal, and chalk.

But drawing on paper is not like drawing on stone. I had a lot to learn. With the experience of Bill’s team, I took a deep dive into the mechanics of the medium. That involvement had implications for all of my work. 

This happened principally in two ways. First, I could see each stone or plate as a drawing in itself—a component part of a potential printed whole.  Plus, there was a kind of trompe l’oeil effect. The resulting lithograph could look like a drawing. An image of physical richness, despite the minuscule amount of material on the paper surface. That distance between image and material would become a preoccupation.

Second, lithographs could be layered, much like a painting. Each pass through the press was deliberate and intentional. Sequential, as a series of separations, a construction of drawings. But with the added possibility to shuffle and shift the elements. Or, completely change direction. That was a built-in flexibility, unavailable within the forward movement of painting itself.

Lithography provided an exploded view of my working process. A diagram, an interval. A space connecting my thinking about drawing and painting.

Contributor

Terry Winters

Terry Winters is a painter who lives in New York.

close

The Brooklyn Rail

DEC 19-JAN 20

All Issues