+ Currency Part 1 - University of Alabama at Birmingham
+ Currency Part 1 - University of Alabama at Birmingham
+ Currency Part 1 - University of Alabama at Birmingham
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its industrial/commercial applic<strong>at</strong>ions th<strong>at</strong> wh<strong>at</strong>ever it was it would never scale the<br />
heights <strong>of</strong> the true fine arts – painting, sculpture and architecture, <strong>of</strong> course.<br />
We know, <strong>of</strong> course, th<strong>at</strong> this is not the case. We accept th<strong>at</strong> the print medium<br />
has not only expanded our experiences <strong>of</strong> art, but th<strong>at</strong> it has also opened its<br />
market. We see the screenprints <strong>of</strong> Andy Warhol, the transfer prints <strong>of</strong> Roy<br />
Lichtenstein, and the etchings <strong>of</strong> Kiki Smith as works th<strong>at</strong> assert the primacy and<br />
the possibility <strong>of</strong> modern and contemporary printmaking.<br />
I begin here because it is from this framework th<strong>at</strong> <strong>Currency</strong> <strong>Part</strong> 1: Modes <strong>of</strong><br />
Expression was conceived. When Derek Cracco first posited the idea, it was