In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Embroidery samplers are inextricably linked to an image of colonial America: farmhouses waved sheets of linen like flags of surrender, with fields of flax extending beyond, as far as the eye could
This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.