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''The above quote exactly describes the work of longtime Taos artist Gene Kloss, whose beautifully produced book of etchings was published by Sunstone Press of Santa Fe.
Her work is the opposite of 'esoteric' and 'unpopular' and may therefore suffer in this age of fashion, novelty, hype and nervous chic. It may never set the Rio Grande on fire, but it is definitely a loving and valuable observation of Taos and the Southwest over some sixty years. As her husband Phillips Kloss notes in the introduction, 'The etchings in this volume constitute not only an aesthetic record but also a historical record. She has done over six hundred copper plate etchings, too many to be included in one book, and we have selected the ones that reveal the full scope of her work.'
Though etching certainly still exists, it is one of the mediums of reproduction that has undeniably suffered from the rise of photography. Not many artists today possess the finicky patience, the love of craft, and the dedication to pursue so difficult a medium. That Gene Kloss has produced such a large body of work is important to the overall history of Southwestern art.
She belongs, historically, to that honorable line of artists who worked when the term 'illustrator' was not a pejorative one, stretching clear back to Winslow Homer and including such distinguished American artists as John Sloan, Robert Henri, George Luks, George Bellows, Boardman Robinson and, not least, that factory full of women who worked for Currier & Ives.
If her work lacks the rhythmic sweep, the powerful fist of some of these other artists, many of her etchings display a quiet charm that is wholly unassuming.
In today's hype-economy, the prices that art commands on the market are a subject of constant discussion. Supposedly, the higher, the better. But I mean it as a compliment when I say that I wish Gene Kloss could have had the great good fortune of living when and where Hokusai (the 19th century Japanese printmaker whose name means 'old man mad about drawing') lived. It was a time when a print could be sold for the equivalent of $1.00, and thus reach a mass audience. Not a photo of a print in a book, mind you, but the thing itself. Unfortunately, that sort of world is long gone, and the next best thing remains this lovingly done book.'' --Joanne Forman, ARTlines, August 1982
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