It is hard to overstate the extent of Anthony Kirk’s knowledge and expertise in the field of printmaking. With more than four decades of experience printing intaglio and relief editions, Kirk has collaborated with leading artists including Helen Frankenthaler, Robert Indiana, Wolf Kahn, Armin Landeck, Joan Mitchell, James Rosenquist, Kiki Smith, Frank Stella, and Donald Sultan. In addition to tenures at the Robert Blackburn Printmaking Workshop and Tyler Graphics Ltd., Kirk has shared his skills widely through teaching appointments at Bard College, Boston University, Parsons School of Design, and Pratt Graphics Center, to name just a few.

"This ancient technology still holds currency for the contemporary artist and I have never lost my enthusiasm for sharing my passion for the medium."
–Anthony Kirk

Born in Scotland, Kirk received his MFA in Printmaking at the Chelsea School of Art in London. He moved to New York in 1974, where he soon became an apprentice to Robert Blackburn. Celebrated for attracting a diverse and international crowd of artists, Blackburn’s workshop provided Kirk with the opportunity to engage and learn with a vibrant community of artists. In 1988, Kirk was invited by Kenneth Tyler to lead the etching department at Tyler Graphics Ltd., where he developed strong work relationships with Frank Stella, Helen Frankenthaler, and others. Kirk began teaching at the Center for Contemporary Printmaking in Connecticut in 1995 and, upon the closure of Tyler Graphics in 2000, became the center’s artistic director and Master Printer until 2013. In addition to leading CCP, Kirk launched Anthony Kirk Editions in North Salem, New York, in 2000. Not only does he continue to print, Kirk has also curated shows in the space, such as the critically lauded Five Scottish Print Studios.

For Kirk, a primary draw to printmaking is its endurance as an art form: “When I speak publicly about my life as a master printer,” he says, “I usually start a lecture by removing from my pocket a small copper plate covered with a hard ground wax coating and telling the audience that if Rembrandt, Goya, Piranesi or Dürer were to come alive before me now they would each recognize what I am holding, and then they would ask me for etching needles and acid. This ancient technology still holds currency for the contemporary artist and I have never lost my enthusiasm for sharing my passion for the medium.”