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請聯絡bidsnewyork@phillips.com，以協助登記進行現場、書面或電話競投。
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\n參閱富藝斯業務規定 >
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\n","auctionDetailsSmall","紐約拍賣 2025年6月24日","extraInfo","

editions@phillips.com
\n+1 212 940 1220
\n
\nCary Leibowitz
\n限量版畫部全球聯合主管
\ncleibowitz@phillips.com
\n
\nKelly Troester
\n限量版畫部全球聯合主管
\nktroester@phillips.com
\n
\nSarah Browne
\n限量版畫部拍賣主管暨專家
\nsbrowne@phillips.com
\n
\nJason Osborne
\n限量版畫部專家
\njosborne@phillips.com
\n

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446,447,448,449,450,451,452,453,454,455,456,457,458,459,460,461,462,463,464,465,466,467,468,469,470,471,472,473,474,475,476,477,478,479,480,481,482,483,484,485,486,487,488,489,490,491,492,493,494,495,496,497,498,499,500,501,502,503,504,505,506,507,508,509,510,511,512,513,514,515,516,517,518,519,520,521,522,523,524],"collections",[278],"viewing",{"_246":261,"_248":262,"_48":263,"_264":265},"sessions",[243,244,245],"articles",[183,184,185,186],"departments",[177],"auctionCurrency",{"_174":72,"_175":176},{"_163":164,"_165":166,"_167":168,"_169":49,"_170":171,"_172":173},"totalLotCount",238,"auctionMobilityAuctionRowId","1-AL3FIW","auctionUrl","https://www.phillips.com/auction/NY030325","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_NY030325.pdf","countryName","United States","countryCode","US","line1","432 Park Avenue","city","postCode","10022","province","NY","currencyCode","currencySign","$",{"_178":179,"_180":181,"_182":181},"departmentId",5,"departmentName","Editions","departmentDisplayName",{"_187":234,"_189":181,"_190":235,"_16":236,"_193":237,"_195":238,"_197":198,"_199":200,"_201":202,"_203":239,"_205":202,"_207":240,"_209":241,"_211":242},{"_187":224,"_189":181,"_190":225,"_16":226,"_193":227,"_195":228,"_197":198,"_199":200,"_201":202,"_203":229,"_205":230,"_207":231,"_209":232,"_211":233},{"_187":213,"_189":181,"_190":214,"_16":215,"_193":216,"_195":217,"_197":218,"_199":200,"_201":202,"_203":219,"_205":220,"_207":221,"_209":222,"_211":223},{"_187":188,"_189":181,"_190":191,"_16":192,"_193":194,"_195":196,"_197":198,"_199":200,"_201":202,"_203":204,"_205":206,"_207":208,"_209":210,"_211":212},"coverUrl","https://flockler.com/thumbs/sites/889/tamarind-lead-797c7ffa-a766-450c-9584-4af8f5703b31_s600x0.jpg","section","summary","Ten works from the Tamarind Institute's collection unveil four decades of groundbreaking lithography.","Tamarind Institute: Printing a Legacy","body","

Fritz Scholder (Luiseño), Indian Cliché (State III), 1978. Editions & Works on Paper New York.

\n\n

Tamarind Lithography Workshop was founded in 1960 in Los Angeles as an experimental program to restore the dying art of lithography. While initiated by artist June Wayne with the support of the Ford Foundation, today Tamarind Institute operates as a nonproﬁt educational center and a division of the College of Fine Arts at The University of New Mexico.

\n\n

Within a freestanding building on Albuquerque's original Route 66, Tamarind pioneers a state-of-the-art workshop, gallery, research library, and a program of artist residencies and advanced classes in the theory and chemistry of lithography. Tamarind also encompasses an extensive archive of historic material and 8000 lithographs produced by the workshop, along with a staff of highly trained printers, curators, and print experts. Through these facilities and personnel, the institute stimulates research, preservation of knowledge, and community among a diverse international following. This unique program is widely credited with revitalizing the creative medium of lithography and continues to provide the only printer training program of its kind in the world.

\n\n

Tamarind sustains its operation and practices a high caliber of printing through its work as a printer and publisher of ﬁne lithographs. Artists are invited for residencies ranging from 2-4 weeks, during which they explore the possibilities of lithography, collaborate with a team of printers, and engage with the New Mexico arts community. Tamarind is known for introducing artists to the process of collaborative printmaking, favoring projects with artists who are new to the medium and may work in disciplines outside of traditional printmaking.

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Here, we highlight works from Tamarind’s collection in our upcoming New York Editions & Works on Paper auction, offering collectors the opportunity to own a piece of this legacy while supporting the institute’s mission.

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Fritz Scholder (Luiseño)

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Fritz Scholder (Luiseño), Indian with Beaded Sash, from Suite Fifteen, 1975. Editions & Works on Paper New York.

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“One color by itself is pretty blah. I don’t care what color you take. It’s when you put the second color next to the first color that, then things start to happen, and you get vibrations, you get, when you get purple next to an orange, things are going to happen.”
\n
\n—Fritz Scholder (Luiseño)

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Noel Anderson

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Noel Anderson, Ebony Files, the Albuquerque Suite, 2019. Editions & Works on Paper New York.

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“The use of cotton and its attendant vocabulary once woven is an intricate exchange with American history. The grain of images, the ‘nap of the weave,’ the wavering borders suggest the margin creeps into the frame. Collapse is irresistible. Loose threads and the natural warp of the material represent a glitch that invites viewers to revisit their memories and notions.”
\n
\n—Noel Anderson

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Michelle Stuart

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Michelle Stuart, Kuseping, from Tsikomo, 1974. Editions & Works on Paper New York.

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“If I use up a certain medium with my questions, I start asking them in another medium. Each piece is a challenge to be true to yourself. Is this really who I am and what I want to say? How far can I go with this? It has to be lucid, although not too lucid! [...] You have to have things in [the piece] that might not be true in order to communicate the truth.”

\n\n

—Michelle Stuart

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Willie Birch

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Willie Birch, Big Man, 2000. Editions & Works on Paper New York.

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“This body of work comes out of a need to create works that are narrative, accessible, and emotionally connected in a direct way to the people they portray. As an artist who is committed to cultural history, I think these works act as visual commentaries that reconstruct our perception of race and class in America.”
\n
\n—Willie Birch

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Discover more from the Tamarind Institute >

\n\n

\n","publishDate","2025-06-11T18:59:44.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/159506916/tamarind-institute-printing-a-legacy-auction-new-york","displayOrder",3,"auctionEditorialID",4441,"editorialID",4988,"flocklerID",159506916,"https://flockler.com/thumbs/sites/889/kiki-smith-editions-ny-da108221-13bc-4860-9e48-67b4081ae139_s600x0.png","Gather the kids and head to the gallery to hear a story told through works in our June sale in New York. ","Those Crafty Birds: An Editions Fairy Tale ","

Kiki Smith, Come Away From Her (after Lewis Carroll), 2003. Editions & Works on Paper New York.

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In a little clearing near her little tent in the enchanted Hudson Valley, Celia the acrobat happened upon a startle of catbirds. Curious, she listened intently to their rancor.

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A giant! they squawked. A giant coming! Take to the skies, for all things aground will be found, all things found will be bound, and all things bound will be swallowed, never again to make a sound!

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In a flash, the odd mob rose into the afternoon. "But wait!" Celia cried, "what of us who cannot fly?"

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The aquatint blur joined in voice: Grow strong, aim true, and in the hour of need, bravery will pull through. Heads over hands! Friends over fears!

\n\n

Trapped between urgency and a clear blue sky, Celia pondered their words as she rushed back to the circus to warn them.

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\n\n

Marc Chagall, Le Cirque ambulant (The Traveling Circus), 1969. Editions & Works on Paper New York.

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"A giant?" laughed Jacques the clown. "Hold on, Pimm will want to hear this — Pimmy, swing this way!"

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But it was true, Celia said, it was real, and it was coming this way.

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Jacques’ smile doubled with his face paint. "Isn’t that just typical of birds? An anxious avoidant lot, them. Dole out advice and then float above the consequences, tsk tsk. Don’t worry, my friend Bjorn can help. They're a bit gruff, you know, the starving artist type. Best to bring them some food. Let’s go to Miffy’s shop on the way."

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Left: Tom Sachs, Miffy, 2002. Editions & Works on Paper New York. Right: KAWS, FINAL DAYS, 2017. Editions & Works on Paper New York.

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At the shop, Celia and Jacques found Miffy and Kaz in a heated discussion.

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"Look, it’s easy enough," Kaz said. "It’s a ledger, like the one you use for inventory. Every transaction is digitally recorded there and it’s fully traceable for accountability."

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"But what’s the point then? Do you want oversight or not? And then if you sell it for real money isn’t that just another speculative bubb— hold on, we have customers. How may I help you?"

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Celia asked Jacques if there was anything Bjorn might like. She looked around at the sparse shelves. Pea soup or apples?

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Left: Andy Warhol, Green Pea, from Campbell’s Soup I, 1968. Editions & Works on Paper New York. Right: Roy Lichtenstein, Vertical Apple, from Seven Apple Woodcuts, 1983. Editions & Works on Paper New York.

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"They’re a big eater," Jacques said. "Let’s get everything and take it from there."

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Celia’s eyes widened. She hadn’t brought any money. She nudged Jacques shyly, her pockets turned out and empty. Was there anything Miffy would take in exchange?

\n\n

"Well, well, well," Kaz butted in, "if only there were some sort of alternative here; perhaps something that supplanted the need for fiat currency!"

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"That’s enough," Miffy countered. "Actually, I have to plant my saplings by the side of the road, and Mr. Desk Job over here doesn’t have the hands for it. I can’t lift them myself; help me out and these are yours."

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Cy Twombly, Natural History Part II: Some Trees of Italy, 1975-76. Editions & Works on Paper New York.

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And so the little girl, the clown, and the bunny got to work. One by one, they dug evenly spaced holes, unraveled the wraps, fetched water, and patted fresh soil over the trees’ new homes. Kaz watched motivational videos on his phone. When they were done, Celia stood back and admired the plots, watering can in hand. "It’s a beautiful thing to give a tree its first drink,” she said. “For one day it will return the favor in the form of shade."

\n\n

"We are all giants for a moment," Jacques said.

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"The giant! Oh no, I forgot!" Celia cried. "He’s probably getting very close now! We must hurry!"

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Celia and Jacques bid farewell to Miffy and Kaz, and made their way to Bjorn’s place.

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"Like I said," Jacques reminded Celia, "Bjorn seems ornery, but they’re just from the city."

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Marcel Dzama, Untitled, circa 2000. Editions & Works on Paper New York.

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In the doorway’s maw, Celia called out meekly. B… Bjorn?

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Slowly out from an unlit den emerged a great mass of chattering heads.

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"What the matter kid? You’ve never had roommates? Five in a one bedroom is nothing!" said one.

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"Has anyone seen my straightener?" asked another.

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"Check the outlet since you always leave it plugged in; or better yet, smell for fire since that’s bound to happen any day now," quipped the third.

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Celia hid behind Jacques. She dropped her apples.

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"Lunch!" Bjorn called in unison. "Let us talk and dine."

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Between Bjorn’s gulps and gnashes, Celia explained the birds’ warning. Mhmm, mhmm, oooh, this is some delightful soup, mhmm, mhmm, pass the … yes, oh, we’ve never had a blue apple before, mhmm, yes, so, a giant … mhmm.

\n\n

"This is serious!" Celia warned. Jacques peered down at the soup as it began to ripple in its bowl. Unbothered, Bjorn gorged. The ripples grew larger as time between each wave shortened. The sunshine behind them dimmed. The air was still.

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AH!

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Celia, Jacques, and Bjorn all cowered in fear.

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Nicasio Fernandez, D.I.Y., 2022. Editions & Works on Paper New York.

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It was the giant, all pink and pirooted and Blundstone booted.

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AH!

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They huddled together. "Please," Celia muttered through her hands, "please don’t eat us!"

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"What?" the giant boomed. "Why would I do that?"

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"But the birds … they said you would eat us!" said Celia.

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"No way, man, I'm vegetarian," said the giant, pointing to his carrot tattoo. "Also, my name’s Isaac, and those birds stole my hammer. I started a carpentry business upstate and they keep getting further away from me. Every town I go to, the people run away in fear, set traps for me, throw things. I just want my hammer back and they keep tricking people into attacking me."

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"Sick, this guy’s actually totally chill," Jacques said. Bjorn’s heads all fixated on the giant.

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"Oh, wait, Isaac? This is weird but did you live in Park Slope?" Bjorn asked.

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"Yeah I did, six years."

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"No way, I’m pretty sure you were roommates with my old coworker."

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"Whoa, who was it?"

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“Santi.”

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"No way what’s he up to now?"

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"Last I heard he went to LA, think he wanted to open a print studio but he was always saying stuff like th—"

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Jacques cleared his throat with intent. "See?" he said to Celia. "Sometimes we’re told to be afraid. And instead of learning or asking why, we accept it and get into our own heads, when really, there was nothing to be scared of to begin with."

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"I’m sorry Mr. Isaac," Celia said. "I hope we didn’t upset you. Do you want to see us perform at the circus? You can help me get up to the trapeze!"

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Isaac the giant smiled and nodded. And they all went back to the circus tent with a new friend.

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David Shrigley, Kindness, 2018. Editions & Works on Paper New York.

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Discover more from Editions >

\n\n

\n","2025-06-10T18:10:23.000000Z","Arian Murati","https://www.phillips.com/article/159475855/those-crafty-birds-an-editions-fairy-tale",2,4438,4987,159475855,"https://flockler.com/thumbs/sites/889/snyder-lead-2-8278c77a-3014-4ca6-af62-4cc74365eb81_s600x0.jpg","Joan Snyder's remarkable printmaking comes into focus through five prints spanning four decades of her career.","The Artist’s Hand Is Closer Than It Appears","

Joan Snyder, Mommy Why? (detail), 1983–84. Editions & Works on Paper New York.

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For any great artist — be they painter or printmaker, composer or poet — what perhaps draws us in the most is the immediate sensation of their personal language. Encounter just two of their works and you’ll find the connection between them straightaway. From there, each further work we discover opens a greater understanding and lets us in, connecting the dots between our own experience of the world and theirs. In these wonderful moments, we can find ourselves wholly affected by just how much an artist has stayed true to themselves. It’s as if they invite us along in their own revelations, unveiling a bit more to us — and themselves — with each work.

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The New York painter and printmaker Joan Snyder fits this mold, and our upcoming Editions & Works on Paper auction in New York offers a unique opportunity to unpack the progression of her visual language. On view at 432 Park Avenue from 17–23 June, this micro survey of her printmaking career promises to be eye-opening.

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From her renowned Stroke paintings in the 1970s to her current work, Joan Snyder has developed a uniquely personal visual lexicon. Initially investigating the ontology of painting and emerging as a defining voice in feminist art, her autobiographical works make use of recurring motifs. From roses to breasts, ponds, mud, totems, screaming faces, scrawled words, cherry trees, and more, each tells us part of her personal story, connects to collective experience, and illustrates her own experience of womanhood. These motifs appear and reappear, growing and changing alongside the artist’s sensibility, much like how a melodic turn of phrase from her beloved Verdi’s Messa da Requiem can be heard anew in his later Otello.

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Now late into a career that has included fellowships from the John Simon Guggenheim Foundation, the MacArthur Foundation, and the National Endowment for the Arts; participation in the 1973 and 1981 Whitney Biennials and the 1975 Corcoran Biennial; and with works included in institutional collections ranging from the Crystal Bridges Museum of American Art and the Art Institute of Chicago to what we’ll call a New York quadfecta (MoMA, Met, Guggenheim, Whitney), Snyder’s work has captured collectors’ attention as of late. She’s recently presented lauded solo exhibitions at Thaddaeus Ropac in London and CANADA NYC, and her latest auction results are impressive. Just this May, her 2020 work, OH Elena achieved more than twice its low estimate in Phillips’ Modern & Contemporary Art Day Sale in New York.

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But for as much as her paintings are lauded, she’s just as ambitious a printmaker, bringing her unique sensibilities to the medium in a personal and experimental approach. Rather than always seeking to produce exact editions, she will often alter certain aspects during a print run, much in the way she may work and rework a canvas while painting. Subtle changes in coloring or hand additions help blur the lines, making it satisfyingly tricky to see where the painter ends and the printmaker begins.

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“She is a printmaker with a capital P,” says Phillips New York Editions Specialist Jason Osborne. “She is a painter and a printmaker — they have both been huge parts of her practice throughout her entire career, from when she was in school all the way up until now — and she’s still doing it.”

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Joan Snyder's response to “What is Feminist Art?” 1976 or 1977 (click image to enlarge). Woman’s Building records, 1970–1992. Archives of American Art, Smithsonian Institution.

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To begin to understand Snyder’s work, it’s helpful to look to the source. Later dubbed a “mini-manifesto,” her now-famous text, written as a response to the eponymous exhibition What is Feminist Art? at the Woman’s Building in Los Angeles, offers a guide map to her art and ideas.

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Joan Snyder, Untitled, c. 1978. Editions & Works on Paper New York.

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The earliest work on offer is 1978’s Untitled, coming just two years after her pivotal text, and which begins to clue us in to her affinity for German Expressionism and imagery reminiscent of children’s paintings. It also allows us a window into how personal experience manifests in visual subject matter, as this work comes from the same year Snyder lost her son Oliver to a miscarriage. It was around this time that she began to more fully integrate the style of children’s drawings, a genre she understood well from her time as an art teacher, going as far as to save some of her students’ drawings and eventually pull imagery from them in her works. Much of her mark-making has the freedom and expressivity of a child’s hand, or even of an ancient people or those on the fringes of society.

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Joan Snyder, Study for Symphony, for A.D., 1981. Editions & Works on Paper New York.

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A few years later, Study for Symphony for AD expresses further autobiographical details. This expressive and complex work was created just after the birth of her daughter, Molly, and is dedicated to Dr. Alvin Donnenfeld, the obstetrician who delivered her. This hand colored, black-and-white lithograph demonstrates Snyder’s active approach to printmaking and references her love of music — the narrative nature of its grid-like composition serving as a parallel to the temporal logic of musical forms. Across these two works and with Snyder’s personal struggles in mind, we find her fascination with ideas of birth and death, creation and loss, and a mother’s ability or inability to soothe or protect her children. This pushes us well into her remarkable 1983–1984 work, Mommy Why?

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Joan Snyder, Mommy Why?, 1983–84. Editions & Works on Paper New York.

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“The way I look at it, it’s kind of an anti-Pietà,” Osborne says. “An image of woman and child that is non-sentimental, not romanticized. There’s this really aggressive mark-making, and she’s taking material directly from her life experience. The subject matter feels familiar, but then it’s also not.” This unique woodcut was executed in an edition of 15, with seven artist’s proofs that all function like a musical set of theme and variations, each print featuring changes in coloration. This example is particularly charged due to the scorching red hue used to color points of hair growth on the mother figure. The dramatically chiseled plate and expressive use of color come together to convey a mother and her child’s shared sense of suffering and showcase the inherent strengths of the woodblock medium.

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Joan Snyder, Another Version of Cherry Fall, 1996. Editions & Works on Paper New York.

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Snyder’s continuous reinvention stretches beyond a single edition to her entire oeuvre. Another Version of Cherry Fall represents this clearly, seeing the artist revisit a painting created the prior year. Her return to cherry trees as a central motif is referential to her memories of passing a cherry tree each day she went to visit her dying father. In this sense, the cherry tree becomes a symbol of lifecycles, of rebirth and renewal as much as death and the void. Adding to the web of emotion, this print was made in collaboration with master printer Eileen M. Foti, whose husband was battling aggressive lymphoma at the time the edition was made, lending a connection to the symbolism for both artist and printer.

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Joan Snyder, Black Lake Redux, 2021. Editions & Works on Paper New York.

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These themes also emerge from the depths of Blake Lake Redux, the black water seemingly suggesting death in contradiction with water’s vital role in sustaining life. Also stemming from an earlier painting, Snyder’s invention within the printmaking medium, with hand-coloring in pastel, helps capture a similar dimension to the original painting.

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Looking outside of Snyder’s personal world, it’s also fascinating to consider the backdrop of artistic movements that transpired as these works were created. It’s illuminating to realize that, as mainstream art trends perhaps came and went — Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, etc. — Joan Snyder seemed to never drift too far from her innate need to create within her own language. The rigorous visual throughline and the consistency of her ideas are evidenced in an interview with Plaster Magazine conducted just last year in 2024. When asked if she stood by her 1976 statements in her “mini-manifesto,” Snyder simply replied, “Absolutely.”

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With six decades behind her practice, it is incredibly engaging to look back on this process of becoming. Says Osborne, “It’s just great to get these works in front of people’s eyes to appreciate right now.”

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Discover more from Editions & Works on Paper New York >

\n","2025-06-06T18:44:47.000000Z","https://www.phillips.com/article/159309610/joan-snyder-editions-auction-new-york-june-2025",1,4440,4984,159309610,"https://flockler.com/thumbs/sites/889/minimalism-lead-1f2d5a20-712b-4b8a-9ad7-e9d0bcf91f7f_s600x0.jpg","When we take things away, we see even more. ","Wide-Eyed and Essential","

Ellsworth Kelly, Gray Panel from Painted Wall Sculptures, 1982. Editions & Works on Paper New York.

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Couldn’t we all do with a little less these days? Less disorder, noise — fewer notifications, even; more room for thought. But of course, as we strip things away, more is revealed. This is the experience offered by a few works on offer in our upcoming Editions & Works on Paper auction in New York. Standing before them, we find that with less overt visual matter to observe, a floodgate of ideas opens. These works deepen the fundamental experience of looking and perceiving, and we can discover more details about light, rhythm, and presence than we perhaps realized were there. Beyond even the sight, we find that sometimes it’s enough to sit with works like these for a moment, have a few breaths, and appreciate how their mere presence can impact us and our surroundings.

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Ellsworth Kelly

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Ellsworth Kelly, Gray Panel from Painted Wall Sculptures, 1982. Editions & Works on Paper New York.

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All Ellsworth Kelly needs to get us to open our eyes and minds is a rhomboid piece of aluminum, gray paint, and a wall. The longer we look, the more we discover — the light play creates a shadow that mirrors both the form of the work and its tone, the flat surface of the panel contradicts the depth of its construction, and we see how these aspects shift in changing lighting conditions throughout the day, or even the year. It rewards a long view and a few steps around it to discover how it changes when seen from across the room, from underneath, or even right up next to it with your head up against the wall. To call this a distillation of the essential to its purest form might even be an understatement. It clouds what we think we know about subject and object — its subject is itself, but as an art object it encompasses more than its surfaces, jutting out into space and changing how the things around it are perceived. One can revisit it for years and still make new discoveries.

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\n
I did not want to “invent” pictures, so my sources were in nature, which to me includes everything seen.
\n—Ellsworth Kelly
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Though Kelly’s work needs no introduction, it’s worth pointing out that this year marks the 10th anniversary of his passing, and the Painted Wall Sculptures series represents one of his most mature and refined expressions. Pair it with the later Color Squares 3 to be immersed in Kelly’s obsession with the relationships between form, color, and space.

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Ellsworth Kelly, Color Squares 3, 2011. Editions & Works on Paper New York.

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Carl Andre

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Carl Andre, arc bin bur cam, 1962. Editions & Works on Paper New York.

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Cool kid of Phillips Andover turned renegade artist Carl Andre is perhaps best known for his innovations in Minimalist sculpture, emphasizing the purity of materials and their relationship to space without the interventions commonly associated with traditional sculpture. But as a man of many talents, he also worked as a freight brakeman and conductor in New Jersey for the Pennsylvania Railroad. It was at this time that his creative focus shifted to concrete poetry. These works are more interested in the shape the words create on the page and their pure sound than their meanings. The words themselves have an auditory rhythm that seems to parallel the shape they express, while somewhat referential to the sounds of the railroad or musical jam sessions or whatever else one can find.

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Visually, the effect is created by two columns containing sequences of words whose number of letters follows the palindromic series 3, 4, 5, 6, 5, 4, etc. On closer look, subtle differences are revealed simply due to the typeface and choice of letters. This construction is reminiscent of process-oriented Minimalist and total-Serialist music that was emerging at this time, like John Cage’s macro-microcosmic works.

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And to that, all we can say is eye fog gap gem.

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Michelle Stuart

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Michelle Stuart, Kuseping, from Tsikomo, 1974. Editions & Works on Paper New York.

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At first glance, this work offers a moment to take in a beautiful layering of form and shadow made by the soft neutral tone of textured Arches paper. But with more time, we discover the underside of the sheet has a purple hue, casting a shadow reminiscent of the New Mexico desert light. The work is offered from the collection of the prestigious Tamarind Institute, where Michelle Stuart was in residence in the winter of 1974. While there, the artist observed local Native American traditions, including seasonal ceremonial dances, and researched the region’s geography and culture.

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The five-print series’ title references the highest peak of the Jemez Mountains, which is considered the spiritual center of the region by local tribes. Working with Tamarind, the artist developed a method to capture the raw texture of the local landscape with a raised metal plate, and each sheet was torn to give the look of traditional handmade paper. This series was the first foray into printmaking for the noted land artist, and in collaboration with Tamarind, she achieved the conscious approach to geographic and cultural study for which she is so well known.

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Tara Donovan

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Tara Donovan, Untitled I-V, 2004. Editions & Works on Paper New York.

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Lauded for her site-specific installation work and drawings that express an implication of motion frozen in time, New York artist Tara Donovan transforms the ordinary into the extraordinary. Her works make use of everyday materials that are commonly discarded — Styrofoam cups, index cards, paper plates, rubber bands, and, most relevant here, drinking straws. To create this set of four prints, Donovan blew air through a straw into a mix of chloride and soap before laying the resulting bubbles on a copper plate with aquatint ground. The result showcases key characteristics of the artist’s work: a sense of joyful freedom expressed within a rigorous and intentional process, repetition, accumulation, and the impressions of hitherto unseen biomorphic forms.

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Yves Klein

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Yves Klein, Table Bleu KleinTM / Klein Blue, designed 1961. Editions & Works on Paper New York.

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Not commonly considered a capital-M minimalist, Yves Klein’s works have much to offer when viewed from this lens. While later artists like Kelly would seek to remove a sense of personal expression from their works as they laid bare the essential elements of art, Yves Klein often achieved a similar sense of distillation, but with quite a bit of his personal and distinctive panache. Take this prominent 1961 table, which displays the unmixed pigment of International Klein Blue. Like other works mentioned here, what draws us in is perhaps a greater understanding of our own perception, here of the most blue blue there is.

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Discover more from Editions >

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170

Gert and Uwe Tobias

《無題》

完整圖錄內容

Gert and Uwe Tobias