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

The 1990s (Room 5 of 6)

Kathan Brown moved Crown Point's studio and exhibition gallery from Oakland to San Francisco in 1986. She also maintained a New York City gallery through the 1980s and into the early 1990s. During this period the staff reached its peak size of twenty-two, including ten printers. Devastation from the 1989 Loma Prieta earthquake, however, forced Brown to move again, and changes in the world economy caused her to end the Asian woodcut project and reduce staff. The press settled into its present downtown San Francisco location in October 1990. All of the prints in this gallery were completed in this new studio, where Brown is again concentrating on etching, with occasional ventures into monotype.

While maintaining relationships with artists she had long admired, such as Sol LeWitt and Shoichi Ida, Brown sought to expand the scope of her publications with new artists. She continued to invite those from both the Bay Area and around the world, including Per Kirkeby from Denmark and Katsura Funakoshi from Japan. Recent work confirms Brown's ongoing interest in figuration and representation, as seen in the prints by Christopher Brown and Nathan Oliveira; in conceptual issues, as in work by Joel Fisher and Marcus Raetz; and in abstraction, as in prints by Judy Pfaff and Richard Tuttle. Technical expansion also remains important to Brown, as suggested by Christian Boltanski's photogravures, a process new to the studio.


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