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Draft:David Adamson

  • Comment: Because this is an autobiography (disclosed on Draft talk:David Adamson), you may want to read WP:PROUD because there a a lot of negatives to having a Wikipedia page about yourself that you may not have considered before. Regardless of that, the English Wikipedia does not accept AI-generated submissions. ‑‑gurkubondinn 17:46, 23 July 2026 (UTC)

David Adamson is a British-born master printer and the founder of Adamson Editions, a fine-art printmaking studio in Washington, D.C. that was among the first in the world to work exclusively in digital printmaking.[1][2] Trained as a lithographer, Adamson moved to digital production in the early 1990s and in 1994 published The Washington Portfolio, described in contemporary and later accounts as the first exhibition of Iris prints made with an archival ink set.[3][4]

Adamson has collaborated with artists including Chuck Close, Jim Dine, Robert Rauschenberg, Annie Leibovitz, Lee Friedlander, Jenny Holzer, Roni Horn, Robert Longo, Kiki Smith, William Wegman, Adam Fuss, Jack Pierson, Donald Sultan, Victor Schrager, François-Marie Banier and William Christenberry.[5] His studio was the subject of the 2005 exhibition Atelier Adamson at the Maison Européenne de la Photographie in Paris, accompanied by a catalogue published by Steidl.[6][7]

Early life and training

Adamson was born in England. He studied sculpture at Newcastle Polytechnic (now Northumbria University) and did postgraduate work in experimental printmaking at the Slade School of Fine Art in London.[8] He then worked at Petersburg Press in London, printing for artists including James Rosenquist, Claes Oldenburg and Henry Moore.[8][7]

Adamson received a Fulbright scholarship to study and work at the Tamarind Institute in New Mexico, after which he returned to London to teach at several art schools.[8] At the invitation of the British etcher Norman Ackroyd he travelled back to the United States in 1978 to establish a printmaking workshop in Richmond, Virginia.[8]

The workshop Adamson established in Richmond in 1978 was the Richmond Printmaking Workshop, which operated until 1991 and has been the subject of a scholarly study.[9] He settled in Richmond and in 1981 founded his own studio, Adamson Editions, there.[8] The following year the studio moved to Washington, D.C., where Adamson simultaneously opened an art gallery with his wife, Laurie.[8][1] In Washington he worked as master printer at the Union Printmakers Atelier in the basement of the Lansburgh building.[10][3]

While teaching lithography at the Corcoran School of Art, Adamson bought one of the first Macintosh computers sold in Washington and began developing image-based software, working as an independent developer within Apple's developer programme.[8][7] From 1985 he founded the first fine-art computer course at the Corcoran, later heading the computer-art department there.[8][3] In 1993 he converted the atelier to work solely in digital technology.[8]

Digital printmaking

Adamson acquired an Iris inkjet printer in 1993–94; at the time of The Washington Portfolio the studio was one of only three artist-run workshops in the United States using the technology exclusively for art, alongside Nash Editions in Los Angeles and Cone Editions in Vermont.[3]

The Washington Portfolio (1994)

The Washington Portfolio, published in 1994, comprised ten works by ten Washington-area artists: Jacob Kainen, Renee Stout, Kevin MacDonald, Tom Nakashima, Rob Evans, Robin Rose, Andrea Way and William Newman, with photographers William Christenberry and Joyce Tenneson.[3] The prints were made on an Iris inkjet printer using archival inks on heavy French watercolour paper, in an edition of fifty.[3]

Reviewing the portfolio in The Washington Post, Jo Ann Lewis reported that Henry Wilhelm, author of The Permanence and Care of Color Photographs, called the occasion historic, and that Donald Saff, founder of Graphicstudio, praised the exhibition.[3] A later technical history of digital printing records the portfolio as the first exhibition printed by an Iris studio using the newly introduced Lyson archival ink set.[4]

Collaborative practice

Writing in the Atelier Adamson catalogue, the critic and historian Andy Grundberg placed the studio's work within the history of photographic printmaking, noting that Chuck Close, in one of Adamson's early Iris projects, assembled large-scale portraits from separately printed panels.[11] Grundberg also identified Annie Leibovitz, Victor Schrager, Jenny Holzer, Roni Horn, Robert Longo and Kiki Smith among the artists then working with the studio.[11]

In an interview published in the same catalogue, Jim Dine dated the start of his collaboration with Adamson to a 1997 exhibition of Chuck Close photographs at the Pace/MacGill gallery in New York, where the two men were introduced; Dine described working at the studio over the following four years.[12]

The printmaking scholar Stephen Hoskins, of the Centre for Fine Print Research at the University of the West of England, used Adamson Editions as his principal example in a peer-reviewed paper on the collaborative studio and the changing role of the master printer, presented at the Impact 7 conference at Monash University.[13]

The gallery, latterly in the Blagden Alley district of Washington, closed in 2020 when Adamson relocated to Portugal.[1]

Exhibitions and collections

Atelier Adamson was shown at the Maison Européenne de la Photographie in Paris from 18 May to 18 September 2005.[5] The exhibition presented work by François-Marie Banier, Chuck Close, William Christenberry, Jim Dine, Lee Friedlander, Adam Fuss, Lyle Ashton Harris, Jenny Holzer, Roni Horn, Inez van Lamsweerde and Vinoodh Matadin, Annie Leibovitz, Robert Longo, Jack Pierson, Robert Rauschenberg, Victor Schrager, Kiki Smith, Donald Sultan and William Wegman.[5] It was accompanied by a catalogue co-published by Steidl and the Maison Européenne de la Photographie, with a preface by Monterosso, an essay by Grundberg, and an interview with Jim Dine.[6][5] The exhibited prints were donated by Adamson and entered the museum's permanent collection.[7]

A separate exhibition, Atelier Adamson: David Adamson and His Friends, was shown at the Sungkok Art Museum in Seoul from 9 November 2005 to 22 January 2006, with a different and smaller selection of works by François-Marie Banier, Chuck Close, Jim Dine, Adam Fuss, Jenny Holzer, Robert Longo, Jack Pierson, Robert Rauschenberg, Victor Schrager, Donald Sultan and William Wegman.[14] It was accompanied by its own catalogue, published by the museum in English and Korean, with forewords by Park Moon Soon and Jean-Luc Monterosso and texts by Shin Jeong Ah and Andy Grundberg.[15]

References

  1. ^ a b c "Adamson Gallery, D.C.'s Master-Printer Photo Gallery, Is Closing." Washington City Paper, 2020. https://washingtoncitypaper.com/article/335683/
  2. ^ "A lesson in digital printing." The Washington Post (FotoWeek DC feature). https://www.washingtonpost.com/wp-srv/artsandliving/museums/special/digital-printing/index.html
  3. ^ a b c d e f g Lewis, Jo Ann. "The Medium Is the Machine: With a $125,000 Computer Printer, Gallery Hosts a Graphic Revolution." The Washington Post, 26 November 1994. https://www.washingtonpost.com/archive/lifestyle/1994/11/26/the-medium-is-the-machine/03ae77ca-e1e6-4edf-b404-fdfdf3404621/
  4. ^ a b Johnson, Harald. "A 15-Year History of Digital Printing Technology and Fine-Art Prints."
  5. ^ a b c d "Atelier Adamson" (catalogue record). Bibliothèque, Maison Européenne de la Photographie, Paris. Shelfmark A 2005 ATE. Records the exhibition at the MEP, 18 May – 18 September 2005, and the catalogue's contents and contributors.
  6. ^ a b Atelier Adamson. Texts by Jean-Luc Monterosso, Andy Grundberg, Laurie Hurwitz, Jim Dine and David Adamson. Göttingen and Paris: Steidl Verlag / Maison Européenne de la Photographie, 2005. 248 pp., 33 × 25 cm, English and French. ISBN 978-3-86521-150-7.
  7. ^ a b c d Monterosso, Jean-Luc. "Preface." In Atelier Adamson. Göttingen: Steidl, 2005. ISBN 978-3-86521-150-7.
  8. ^ a b c d e f g h i "Biography." In Atelier Adamson. Göttingen and Paris: Steidl / Maison Européenne de la Photographie, 2005, p. 245. ISBN 978-3-86521-150-7.
  9. ^ McCarty, Alicia. Local Roots, National Trend: The Richmond Printmaking Workshop (1978–1991). Master's thesis, Virginia Commonwealth University. VCU Scholars Compass.
  10. ^ Poster, Lansburgh's Union Printmakers Atelier, Washington, D.C., 1982, reproduced in Atelier Adamson (Steidl, 2005). The poster lists Scip Barnhart as director and David Adamson as master printer; the atelier was sponsored by the Graphic Arts International Union of Washington, D.C.
  11. ^ a b Grundberg, Andy. "Of One and Many: Thoughts on the Traditions of Photography and Printmaking in a Digital Age." In Atelier Adamson. Göttingen: Steidl, 2005, pp. 11–13. ISBN 978-3-86521-150-7.
  12. ^ Monterosso, Jean-Luc, with Laurie Hurwitz. "Working with David: An Interview with Jim Dine." In Atelier Adamson. Göttingen: Steidl, 2005, pp. 19–20. ISBN 978-3-86521-150-7.
  13. ^ Hoskins, Stephen. "A model for the collaborative studio in the 21st Century." In Intersections and Counterpoints: Proceedings of Impact 7, an International Multi-Disciplinary Printmaking Conference. Melbourne: Monash University, 2013, pp. 238–242. ISBN 978-1-921867-56-9.
  14. ^ "Atelier Adamson" (exhibition archive, 2005). Sungkok Art Museum, Seoul. Records the exhibition Atelier Adamson: David Adamson and His Friends, 9 November 2005 – 22 January 2006, with the participating artists and a full checklist of works. http://www.sungkokmuseum.org/main/archive/archive2005/
  15. ^ Atelier Adamson (exhibition catalogue). Seoul: SungKok Art Museum, 2005. 112 pp., 29 × 21 cm, paperback, English and Korean. Texts by Park Moon Soon, Jean-Luc Monterosso, Shin Jeong Ah, Andy Grundberg, Jim Dine, Laurie Hurwitz and David Adamson. Catalogue record: Bibliothèque, Maison Européenne de la Photographie, Paris, shelfmark A 2005 ATE.1.

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References

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