 |
| Joe Tilson Bela Lugosi Journal (A) 1969 screenprint Tate Gallery |
 |
| Joe Tilson Bela Lugosi Journal (B) 1969 screenprint Tate Gallery |
 |
| Menashe Kadishman The Forest (series) 1969 screenprint Tate Gallery |
 |
| Menashe Kadishman The Forest (series) 1969 screenprint Tate Gallery |
 |
| Menashe Kadishman The Forest (series) 1969 screenprint Tate Gallery |
 |
| Gerd Winner Container [orange] 1969-70 screenprint Tate Gallery |
 |
| Gerd Winner Container [blue] 1969-70 screenprint Tate Gallery |
 |
| Gerd Winner Container [red] 1969-70 screenprint Tate Gallery |
from Art-as-Art
"The one evolution of art forms unfolds in one straight logical line of negative actions and reactions, in one predestined, eternally recurrent stylistic cycle, in the same all-over pattern, in all times and places, taking different times in different places, always beginning with an "early" archaic schematization, achieving a climax with a "classic" formulation, and decaying with "late" endless variety of illusionisms and expressionisms. When late stages wash away all lines of demarcation, framework, and fabric, with "anything can be art," "anybody can be an artist," that's life," "why fight it," "anything goes," or "it makes no difference whether art is abstract or representational," the artists' world is a mannerist and primitivist art trade and suicide-vaudeville, venal, genial, contemptible, trifling."
"The one way in art comes from art working and the more an artist works the more there is to do. Artists come from artists, art forms come from art forms, painting comes from painting. The one direction in fine or abstract art today is in the painting of the same one form over and over again. The one intensity and the one perfection come only from long and lonely routine preparations and attention and repetition. The one originality exists only where all artists work in the same tradition and master the same convention. The one freedom is realized only through the strictest art discipline and through the most similar studio ritual. Only a standardized, prescribed, and proscribed form can be imageless, only a stereotyped image can be formless, only a formularized art can be formulaless."
– Ad Reinhardt, published in the journal Art International, December 1962
 |
| Roland Piché Yellow Bridge 1969 screenprint Tate Gallery |
 |
| Roland Piché Yellow Square 1969 screenprint Tate Gallery |
 |
| Martin Canin Untitled 1969 screenprint Tate Gallery |
 |
| Martin Canin Untitled 1969 screenprint Tate Gallery |
 |
| Patrick Caulfield Lampshade 1969 screenprint Tate Gallery |
 |
| Patrick Caulfield Coal Fire 1969 screenprint Tate Gallery |