Introduction
Highlights of Thirty-Five Years
The 1970s
Figuration and Its Meaning
Conceptual Art and Its Affinities
The 1990s
Diebenkorn and Cage

Highlights of Thirty-Five Years (Room 1 of 6)

Apart from Kathan Brown herself, Richard Diebenkorn and Wayne Thiebaud were the first artists published by Crown Point Press. Both of them lived and worked in the Bay Area, but artists from around the world have also been invited to work at the studio. For many, including British-born sculptor Tony Cragg, Crown Point Press has provided their introduction to printmaking.

Dynamic abstractions by Al Held and Sean Scully, the complex signs of Pat Steir, and the pop-oriented icons of Edward Ruscha suggest the diversity of Brown's etching program. Equally varied are the Asian woodcuts, from the lyricism of Helen Frankenthaler's delicately layered markings to the flattened planes of Sol LeWitt's tightly organized geometric structure.

In selecting artists to work at the press, Brown chooses those whose work she believes will be remembered in one hundred years, shedding light on contemporary aesthetics. She does not attempt to discover new talent, but prefers artists who have exhibited internationally. Moreover, Brown tries not to be limited by personal taste, believing "it is human nature to like what we already know and not to like what is new to us," and invites artists with whom she and her staff will enjoy spending time.


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