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An example of work by Garo Zareh Antreasian
Artwork images are copyright of the artist or assignee
|This biography from the Archives of AskART:|
|Garo Antreasian, born February 16, 1922 in Indianapolis, Indiana has been involved with lithography since the age of seventeen. He was first introduced to the medium by discovering a deserted hand press at Arsenal Technical High School in his hometown of Indianapolis. He received his formal art education at the Herron in Indianapolis, receiving his BFA degree in 1948. He also studied printmaking with Will Barnet in New York at the Art Students League, and Stanley William Hayter at Atelier 17 in the late forties. |
During the 1950s, while working as an instructor at the Herron School of Art, he began to create color lithographs. In 1960, he was invited to be the first technical director of the new Tamarind Lithography Workshop in Los Angeles, which moved to the University of New Mexico in 1970. During this time he worked to promote the art of lithography among American artists.
Antreasian's paintings and prints incorporated innovative materials and techniques such as printing on metal foil, using metallic inks, embossing the print surface, and collaging. His work evolved from romantic, semi-abstract imagery of the 1950s and 1960s, through Abstract Expressionism, to an increasingly non-representational and Minimal mode in the 1970s.
In the 1980s, he returned to painting after a long break. His works inspired by Constructivist and diagrammatic fundamentals using geometric linear configurations with colored fields and shapes.
Awards include a Senior Artists Grant by the National Endowment for the Arts and an Honorary Doctor of Fine Arts Degree from Purdue University. He exhibited at the U.S. Pavilion at the Venice Biennale, and the 14th International Biennale of Graphic Art, Ljubljana, Yugoslavia. Antreasian is represented in the collections of the Metropolitan Museum of Art and Museum of Modern Art, New York City
Louise M. Lewis, former assistant director of the University of New Mexico Fine Arts Museum has written, "The name of Garo Antreasian has been synonymous with creative lithography in the United States for the past several decades. Through his teaching and creative activities, his contribution to the techniques and aesthetics of lithography have had a considerable influence on the medium in this country."
According to the critic V.B. Price, Antreasian's prints have "a warmth and elegance, which take on the characteristics of an aristocratic self-control, a mannered passion and vitality, that contradicts their severities. For all their mathematical precision, the juxtaposition of the richness of their color with the formal geometry of their design gives them a feeling of exuberance."
Sandy Ballatore (http://fenixgallery.com/antreasian/) has written:
No modernist painter working today cuts through the eclecticism of contemporary fashion more surely than does Garo Antreasian. Although he is well known as a master printmaker/educator, new paintings confirm his position as a master of classical modernism, in painting as well as in printmaking.
Antreasian's experience with the Art Students League in New York and with Stanley William Hayter at Atelier 17 in the late forties, set him on a course that brought classical modernism and technological sophistication to California, New Mexico, Indiana, Vancouver, Alaska, Connecticut, Texas, Brazil--wherever he went.
His art was last seen in Los Angeles in the fifties when he exhibited prints. In 1960, he was invited to be the Technical Director of Tamarind Lithography Workshop, after writing a forward-looking essay on the advancement of printmaking. He became a leader in the discipline, training master printers for two decades. They, in turn, revolutionized the field.
In 1970, Tamarind was moved from Los Angeles to the University of New Mexico, Albuquerque, where he worked as Technical Director until 1972. Although teaching, chairing the art department and working as Acting in Associate Dean drew time from artmaking until his retirement in 1987, his work continued in an inventive and rigorous vein.
His new paintings restate the heroic grandeur inherent in the art that he loves: Islamic architecture, metalwork, and tilework discovered when he visited his Armenian parents' birthplace in Turkey; Cubism; Russian Constructivism; the works of Robert Motherwell; and hard-edge painting. Yet, Antreasian's lush planes of thick grays, ivories, terra cottas and soft greens look like no modernist vision we have seen. Architectonic compositions reveal mathematical cleverness, rhythm, stabilizing harmonies. Incised within, around, and through color slabs, taut diagonals stretch like snap-lines used to mark real walls.
"Sooner of later," he states, "the painting finishes itself whenever it is ready and from the beginning strokes one realized it was dictating all along what needed to be done."
1948-1959 Herron School of Art, Indianapolis, IN
1960-1961 Technical Director, Tamarind Lithography Workshop, Inc., Los Angeles, CA
1961-1964 Herron School of Art, Indianapolis, IN
1964 Professor, Department of Art, University of New Mexico, Albuquerque
1970-1972 Technical Director, Tamarind Institute, University of New Mexico, Albuquerque
1981-1984 Chairman, Department of Art & Art History, University of New Mexico, Albuquerque
1964-1987 Department of Art, University of New Mexico, Albuquerque
SELECTED ONE-MAN EXHIBITIONS
1989 Louis Newman Gallery, Los Angeles CA
Paintings, Prints and Drawings, Galleria Exposition, Mexico City, Mexico
1990 Garo Antreasian: Paintings, Prints and Drawings, Robischon Gallery, Denver CO
20 Years of Antreasian Prints, Coe College, Cedar Rapids, IA
1991 Garo Z. Antreasian: Recent Work, Rettig y Martinez Gallery, Santa Fe, NM
Garo Z. Antreasian: Recent Works, Prints & Drawings, Dowd Fine Arts Gallery, State University College, Cortland, NY
Garo Z. Antreasian: Recent Works, Prints & Paintings, Art Museum, University of Arizona, Tucson
1994 Garo Antreasian: Written on Stone, 50 year retrospective, Indianapolis Museum of Art, IN
1995 On The Edge, Mitchell Museum, Mt. Vernon, IL
Works on Paper, Ruschmon Gallery, Indianapolis, IN
1997 Cline-Lewallen Gallery, Santa Fe, NM
Anderson Gallery, Albuquerque, NM
Co-author with Clinton Adams, The Tamarind Book of Lithography: Art and Techniques, Harry N. Abrams, Inc., New York, 1970.
The Works of Juergen Strunck, Dallas Museum of Fine Arts, 1973: an illustrated essay for the catalog of circulating exhibition of the artist's work.
Florilege Des Amours De Ronsard by Matisse, Bulletin of The University of New Mexico Art Museum, No. 8, 1974. An illustrated essay.
Book Review: Heller, Jules, Papermaking in The Tamarind Technical Papers: Technical, Critical, and Historical Studies on the Art of the Lithograph. Volume II, No. 1, Autumn, 1978.
Article: Some thoughts About Printmaking and Print Publications, Art Journal, College Art Association of America, Spring 1980, pp. 180-188.
Catalog and Exhibition Review: Hullmandel and Harding, Spring issue.
Tamarind Papers, Tamarind Institute, 1984.
Honorary Master Printer Certificate, Tamarind Lithography Workshop, Los Angeles, 1969.
Distinguished Alumni Award, Herron School of Art, 1972
Honorary Doctor of Fine Arts Degree, Indiana/Purdue Universities, Indianapolis, 1972
Visual Artists Grant, The National Endowment for the Arts, Washington, D.C., 1982-83.
14th Annual Governors Award
Fellow: National Academy of Design, New York, 1993
Printmaker Emeritus: Southern Graphics Council, Ft. Worth, TX, 1994
Les Krantz, "American Artists, Illustrated Survey of Leading Contemporary Artists"
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