b'Moving to New York from the Midwest in theNMO: What do you like about printmaking?1960s was a culture shock, because abstraction had completely taken over the New York artNMO:Andwereyouatfirstworkingona world.Anythingfigurativewasconsideredsmall scale that then got bigger?corny, and abstraction was synonymous with so-phistication. After moving to New York, I spentJKR: Once, when I took an 85 x 47-inch can-15 years equally painting and printmaking. I didvas to the Sheep Meadow, I was so immediate-printmaking with Donn Steward, who had beenly inspired that I began to paint directly on the Lasanskys assistant at Iowa, and was now thecanvas cellophane wrapper. I did not intend to master printer for Universal Limited Art Edi- paint on the cellophane, but the play had be-tions (ULAE). Donn and I collaborated con- gun and I had to start. So now the painting is stantly. Working so often with him, I turnedall on the cellophane that covers the canvas. intoamasterprinter.SueFuller,LasanskysBecause taking one enormous canvas out to the friend from their days at Stanley William Hay- park was too much, I tried small canvas boards ters workshop Atelier 17, and I became art com- that together, laid on the ground, would com-rades. She was an entrenched New Yorker andpose one large painting. But that wasnt work-in step with the rhythm of the avant-garde. Heringeither,becausetheboardswouldmove elegant soul can be discerned in her prints andaround. Then I began to take out two strips of string sculptures. Sue broadened my vision andpaper, each 15 feet wide. Two of these strips deepened my understanding of the intellectualtogether make up one study. aspects of art. Under her tutelage, Mary Cassatts secret soft-ground technique became an inheri- NMO: So when did you do the first one? How tance for me alone to know. Coming to Newmany years ago? York inspired my Park Avenue series on stainless steel as well as the Kenneth prints. Le tout NewJKR: I dont even remember. The trance of the York congregated at Kenneths townhouse sa- experience has kept me at it continuously for lon, which had been decorated by Billy Baldwinall these years. to resemble a fancy brothel. I intended to do one print of Kenneth cutting hair in this environ- NMO: What is your experience when work-ment, but instead of the one print, I did 19.ing in the park?'