THE VIEW FROM HERE

TO BE AN ARTIST IN THE POST-SOVIET WORLD
by Ekaterina Dyogot
However, the model of this deeply personal behavior was much more widespread. In the USSR, life was structured to be unofficial. In the absence of private ownership, private life took on preeminent importance. >>

THE FLUID LINE
by Sarah Tanguy Independent curator and critic, Washington, D.C.
A number of ideas and associations spring to mind in discussing American culture: free enterprise, democracy, e pluribus unum (out of the many one), realizing one's dreams with hard work and initiative, responsibility to oneself, community and government. Even the most seemingly universal and obvious of these are open to question and in flux. >>

A VIEW FROM HERE: A VIEW FROM HISTORY
by Natalya Adaskina, Chief of the Department of the Graphic Art State Tretyakov Gallery, Moscow.
In looking at the exhibition "The View From Here," its historical aspect is at once apparent. First of all, it is interesting to look at the creative work of our contemporaries in the context of the history of Russian graphic art of the Twentieth century as a whole. >>

HAND PRINT WORKSHOP IN PERSPECTIVE
Dr. Joann Moser
Senior Curator, Graphic Arts, Smithsonian American Art Museum
The most distinctive feature of American printmaking since World War II has been the emergence of printmaking workshops where artists can make prints with the technical assistance of master printers. >>

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