Prints and Editioned Works 1967 – 2003
September 5 - October 4, 2003
During September the George Adams Gallery will present Multiple Artists: Prints and Editioned Works, 1967 – 2003, a survey of multiples by gallery artists. The exhibition will feature works in two and three dimensions by Carlos Alfonzo, Robert Arneson, Chester Arnold, Luis Cruz Azaceta, James Barsness, Jose Bedia, Joan Brown, Enrique Chagoya, Mel Chin, Don Colley, Roy Deforest, Lesley Dill, James McGarrell, Willard Midgette, Peter Saul, Richard Shaw, Joyce Treiman, H C Westermann, and Sandy Winters.
Working with such fine arts presses and foundries as Landfall, Walla-Walla, Shark’s Inc, Vinalhaven, Pyramid Atlantic, Magnolia and Trillium, gallery artists have long been involved with making prints and three-dimensional multiples. Several of the artists developed longstanding relationships with certain printers and foundries over the years, including Chagoya, who has regularly made prints with Sharks Inc in Boulder, Colorado for the past 8 years; Dill with Landfall Press in Chicago for the past ten years; while Arneson cast all his bronze works – a total of 95 between 1980 and 1992 - exclusively with Walla Walla Foundry in Washington. Others, such as Azaceta, McGarrell, and Saul, have worked with a variety of printers depending on their needs, while Westermann, Midgette, and Winters often made prints independently in their studios. This is the case with Sandy Winter’s 6 foot-long woodcut “Georgia,” 2003, and Westermann’s “Connecticut Ballroom,” 1975, for which he not only printed each impression himself, but also carved all of the blocks as well – which explains why the suite is irregularly editioned.
The exhibition begins with two color lithographs by HC Westermann, “Red Planet J” and “Death Ship of No Port” from 1967 and ends with Roy DeForest’s polychrome bronze “Dog Bench” completed especially for this show. Other works includes lithographs such as Peter Saul’s “Angela Davis Crucifixion” from 1972, and “Amboosh, from 1975, Jack Beal’s “Self-portrait” and “Oysters, Wine and Lemon,” both from 1974, Azaceta’s “Oppression III,” 1987, Bedia’s “Dobles,” 1994, and Dill’s “Ecstacy,” 1997. There are also monotypes by Alfonzo, McGarrell and Joyce Treiman, engravings by Midgette, and woodcuts by Arneson and Sandy Winters. Most of the artists make prints using a variety of techniques, and there are prints by Joan Brown and Winters combining lithography with woodcut and chine colle, a Chagoya, which mixes woodcut and lithograph, and a Treiman drypoint, which she has overworked with watercolors. With “Unknown Nourishment” Dill in typical fashion, incorporates lithography, chine colle, etching, along with multiple layers of paper and thread.
Three-dimensional works in the exhibition include Arneson’s bronze portrait of Julius and Ethel Rosenberg, “Two Fried Commie Jew Spies,” 1987, a cast porcelain soup tureen from 1997 in the form of an ocean liner by Richard Shaw, Enrique Chagoya’s suite of ten soup cans titled “The Enlightened Savage,” 2002, Mel Chin’s “Elementary Object,” from 1993, Lesley Dill’s book ‘A Thrill Came Slowly,” 1996, as well as the bench by Roy DeForest.
Multiple Artists will be on view through October 4th. The gallery's hours are Tuesday – Saturday, 10am–6pm, Mondays by appointment. Images can be viewed on the gallery's website at www.artnet.com/gadams.html and on the Art Dealers Association website, www.artdealers.org.
October-November: Lesley Dill: New Sculpture
November-December: Andrew Lenaghan: New Paintings