Tamaño 48 x 38,5 cm.
arts council of princeton org:
Mae Rockland Tupa was born Mae Cecilia Shafter on December 18, 1937 in the Bronx, N.Y. Tupa graduated from Music & Art High School, a public alternative high school that eventually merged into the Fiorello H. LaGuardia High School of Music & Art and Performing Arts. Tupa (her second husband’s surname) continued her education at Hunter College, and at Alfred University’s College of Ceramic Design and later earned her Bachelor of Fine Arts from the University of Minnesota. She traveled and lived in Japan, Argentina, and eventually Spain because her spouse worked for the United States Foreign Service. While performing duties as a diplomat’s wife, Tupa developed her skills as an artist. In March of 1963, she had her first solo exhibition at the Galeria El Portico in Buenos Aires. Tupa continued to cultivate her artistic strengths as a printmaker and etcher in Madrid. She subsequently lived in Princeton, where her work was exhibited at the Nassau Gallery and where she taught graphic arts at the Princeton Art Association. Tupa spent much of her later life engaged with Jewish traditions in art and published many books, including: The Work of Our Hands: Jewish Needlecraft for Today (1973); The Hanukkah Book (1975); The Jewish Yellow Pages: A Directory of Goods and Services (1976); The Jewish Party Book: A Contemporary Guide to Customs, Crafts, and Foods (1978); The NEW Jewish Yellow Pages (1980); and The NEW Work of Our Hands: Contemporary Jewish Needlework and Quilts (1994). Tupa, who received many commissions from individuals and synagogues, eventually transitioned away from paper-cutting and printmaking to tapestry quilts with such diverse subjects as medieval Jewish streets in Spain and the immigrant experience in America.
Concentric Circles of Influence: Queenston Press
FROM NEW JERSEY’S elevated highways to its pastoral ruins, from its academic centers to its corridors of industry, artists have found inspiration. Central New Jersey became a hotbed of cultural activity beginning in the mid 20th century. Throughout the region, different art communities were forming, often overlapping and influencing each other. Concentric Circles of Influence: The Birth of Arts Communities in Central New Jersey explores several of these groups: The Queenston Press, the Artists of Roosevelt, the Trenton Artists Workshop Association, Princeton Art Association, Artworks, the Arts Council of Princeton, the Princeton Artists’ Alliance and MOVIS.
Beginning in 1965, a group of artists came together to take classes in printmaking with Judith K. Brodsky in the old bank building at 14 Nassau Street in Princeton. These women produced three portfolios, published by Brodsky and the late Zelda Laschever, two of which sold out. More importantly, they formed a community.
Although educated as artists, the women were in the midst of taking care of families and uncertain about how to further develop their professional careers. Few knew each other beforehand. Within the intense environment inherent in a printmaking class, these women forged lasting friendships and found the support necessary to continue to develop as artists. Margaret K. Johnson, Marie Sturken, Joan B. Needham, Helen Schwartz, Trudy Glucksberg and Lonni Sue Johnson, among others, have grown into important artists working in Central New Jersey. To this day, nearly half a century later, many continue to encourage each other’s work. Yvonne Burk, Ofelia Garcia, Renee Levine, Mayumi Oda, Clare Romano, Mae Rockland Tupa, Linda White and Ann Woolfolk have enriched other regions of the U.S. with their art. For those who have passed away, such as Jane Teller, Naomi Savage and Dorothea Greenbaum, their influence continues. The women printmakers published under the rubric of Queenston Press, a play on the fact that they were all women living in Princeton. Their community went far beyond their group to a feeling of shared culture throughout the region.