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". . . what was most personal to me were the things I saw in my own environment—such as clotheslines filled with clothes with so much weight that they had to be propped up . . . That was a pertinent clue." —Sam Gilliam in conversation with Donald Miller, ARTnews January 1973
Sam Gilliam’s innovative works of the late '60s and early '70s, which helped push painting into an expanded field, are now legendary, canonical, and well known. These stretcherless, intentionally draped, color-soaked canvases with their folds and myriad of allusions presented a new way to experience the space of painting. With them, he subverts our expectations of where this medium should sit. The same might be said of his equally experimental, yet arguably lesser-known printmaking oeuvre.
By 1974, when Gilliam collaged and screenprinted Tee-2 with the late Bill Weege (founder of Tandem Press) at the Jones Road Print Shop and Stable in Barnesveld, Wisconsin, he was no stranger to constructing in fabric. Fabric and clothing gave Gilliam’s work moments of thick and thin viscous pigment, paper, wrinkles, experimentation, and innovation. Similar to Tee 2, Composed (formerly Dark as I Am) (1968-74), which began as an installation later transformed into an assemblage, made use of the artist’s clothes, and included a T-shirt. The final expression of Composed was completed the same year Tee 2 was conceived. The use of the shirt is inherently personal through its material relation to the body. The shirt rests open-armed with sleeves extending past the confines of the sheet’s edges, a welcoming gesture.
In Tee 2, the T-shirt sits in relief upon the Arches support quite literally elevating what is usually a flat printing surface. The material with its wrinkles, softness, and instability leaves open the possibility for unique variations from print to print within the edition, although we cannot be certain as this is currently the only known example from the edition of 10. The halo of sparse ink around the outline of the shirt reveals the limits of the screen's ability to register the inks flat. Although the technical process of screenprinting places the work in the realm of printmaking, the palette of warm splatters and overall composition nudges us towards a painterly conversation. Once again Gilliam has defied the limits of a medium. Welcome. To the prints of Sam Gilliam.
Composed (formerly Dark As I Am), 1968-74, acrylic, clothing, backpack, painter’s tools, wooden closet pole, all on wood door. Collection of the artist’s daughters. Photo: Marc Gulezian/QuickSilver. 文學
David Acton 25
96
《上衣 2 (A. 25)》
1974年作
絲印 上衣拼貼 Arches Cover 紙本（全紙本）
紙本：33 5/8 x 26 1/4 英吋 (85.4 x 66.7 公分)
款識：簽名、標題、日期、1/10（布料掛件）
共有1版藝術家試作版，由威斯康辛州 Jones Road Print Shop and Stable 出版，已裱。
估價
$10,000 - 15,000
成交價$13,860
Editions@phillips.com
212 940 1220
限量版畫及紙本作品
紐約拍賣2021年10月19-21日
20
此拍品已不再提供買賣。
135
追隨在雷內．馬格利特之後
《無題（戴圓頂禮帽的男人）第4版–來自「稻草鏈接」(K. & B. 19)》
估價 $2,500 - 3,500
成交價 $5,040
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287
大衛．霍克尼
《為 Editions Alecto 而製的石版畫及蝕刻版畫 (M.C.A.T. 121)》
估價 $800 - 1,200
成交價 $1,386
建立您的首份清單。
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