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invite Philip Pearlstein to Tampa to collaborate with Master Printer Anthony Stoeveken. For a short period of time, Graphicstudio became involved with a group of Feign Gallery artists through the efforts of Jacqueline Chambord, graphics director of Feigen. Faithfulness to exquisite printing and careful documentation resulting in professional products which delighted the community and added greatly to the U.S.F. collection. However, examples of advanced technology and conceptual experimentation in graphics were relatively few in those early works. Notable exceptions included the folded and cut prints by Richard Smith, embossing/lithography combinations by Charles Hinman and Adja Yunkers, and mezzotint/photographic screening as used by Mel Ramos. 

In 1970 Anthony Stoeveken left Graphicstudio for a teaching position. The demands of Graphicstudio increased, however, requiring an expansion of the staff. Master Printers Theo Wujcik and Charles Ringness were hired. They began their activities at the university with the very arduous task of printing four- and five-color lithographs for Nicholas Krushenick which required perfecting techniques for producing board lithographic flats of high quality. Upon completion of that suite, a project with Edward Ruscha was produced by utilizing gum mask, rubbing crayon, and number three pencil on stone. 

By 1971 the complexion of the studio changed in that it sometimes seemed inappropriate to limit the number of suites produced for a given artists. During early discussions with James Rosenquist-with whom I had long wished to work-I realized it would have been counterproductive to limit the number of editions after hearing his thoughts concerning the nature and extent concerning the nature of extent of the Cold Light series. He was, therefore, invited for an extended stay. In order to accomplish exploration of the technical range he desired, a number of faculty members offered their assistance. Oscar Bailey of our photography staff aided Rosenquist in photographing newspapers and other items, placing these photographs in the appropriate two-point perspective in order to be consistent with other rendered forms. Rosenquist's wish for transparent hourglasses to be placed over two suites of prints was facilitated by Alan Eaker, a member of the sculpture staff who built the necessary molds for prototyping a vacuum-formed Plexiglas overlay into which plastic beads were placed. The range of technical exploration in the suite extended from the technically traditional diminutive images of Delivery Hat and Fedora to the atypical print/hourglass construction of Mastaba and Earth and Moon.  The evolution and maturation of prints in the Cold Light series was possible because production schedules provided for extensive uninterrupted time for proofing as well as substantial financial and technical support. It would be difficult to imagine many commercial ateliers, no matter how generous, continuously affording this dimension of support without wreaking havoc with financial ledgers.

During the Rosenquist proofing period, many students and faculty had the opportunity to meet with and know Rosenquist quite intimidate and to observe him at work in a temporarily adopted studio. A circumstance such as this afforded those students aggressive enough to come forward and ask questions, a situation that could not be provided even in the urban environments of New York, Los Angeles, or elsewhere. In addition to his print activities, Rosenquist utilized the staff and equipment for experimentation in a film produced during subsequent trips to Graphicstudio.


[[image - photograph of a crushed carboard box, it still retains its postal sticker]]
Robert Rauschenberg, Tampa Clay Piece 4. 9 1/2" X 17" X 1 1/2". 1972. (Photo: Oscar Bailey.)

14           ART JOURNAL, XXXIV/1