From September 12 through October 19, Gemini G.E.L. at Joni Moisant Weyl will present a survey of
works created by Elizabeth Murray in collaboration with Gemini G.E.L., the Los Angeles‐based artists’
workshop. Included in the exhibition will be examples of bodies of work dating from her first Gemini
project, published in 1993, through her last, published in 2006.
Elizabeth Murray was born in Chicago in 1940 and resided in New York for
much of her career, until her untimely passing in 2007. Uniquely her own
and in no way derivative, Murray’s work is indebted to artists such as Philip
Guston, Henri Matisse, Paul Cezanne, and, less often mentioned, Lee
Bontecou. Murray’s art is serious but has whimsy; it is personally domestic
yet open to broader interpretations. Many of her highly inventive paintings
border on sculptures, in that they were often constructed of canvas stretched
over bulging wooden forms. Her printmaking endeavors closely followed this
same direction; of the 39 series or editions Murray created at Gemini, 13 are
3‐dimensional. Murray whirled into motion ordinary objects – shoes, cups, tables, dogs, and more – and
brought them to the precipice of abstraction, creating a vocabulary of imagery distanced from the
obvious yet sufficiently reigned in to be familiar. This was her signature, her trademark, and for it she
was internationally acclaimed. Amongst her many achievements, in 2005, Murray was the first artist to
have a solo painting exhibition in the Museum of Modern Art’s newly renovated galleries, and one of only
four women to be honored with a retrospective at that institution.
Going beyond the ordinary print was Murray’s typical collaboration with the
Gemini workshop. Her first project, a series of uniquely pastelled and collaged
“prints” titled Thirty Eight, immediately set the tone for later collaborations, in
which she would come to the workshop, use the printmaking facilities to
create printed basics for her collages, and then spend her time at the shop
cutting, collaging and coloring each individual work in the series. Even when
she did create editioned prints, they were often significantly 3‐dimensional, as
seen in works such as Body and Soul, Capree and Radish (all dating from 2001).
Replete with vibrant colors and elaborately constructed imagery, Murray’s
Gemini projects run the gambit – from sensitively rendered, intimate
lithographs and etchings, to dramatic, bold, large‐scale expressive works. In
Murray’s graphic oeuvre, there’s something for everyone.
For additional information or visuals, contact: Jessica Krueckeberg 212‐249‐3324 firstname.lastname@example.org