International Fine Print Dealers Association (IFPDA) Fair Fall 2021 Online Edition

MAPPINGS – Each of the 12 panels has as its underlying template the alphabet, printed in light gray. Overlaid black lines connect letters, stringing them together as in connect-the-dots to spell out phrases which begin and end with the same letter: Global Warming, Mapping Room, Glass Ceiling, Murder Victim, Cul de Sac, Memory of a Dream, Dazed and Confused, Why Is Butter Yellow, Lonely Street Heartbreak Hotel, Ocupado, Yesterday, and Stream of Consciousness. A small golden circle directs the reader to the beginning and end point of the word or phrase. The visual result is an abstract closed-circuit system that relates in some way to the meaning of the phrase.

MAPPINGS – Each of the 12 panels has as its underlying template the alphabet, printed in light gray. Overlaid black lines connect letters, stringing them together as in connect-the-dots to spell out phrases which begin and end with the same letter: Global Warming, Mapping Room, Glass Ceiling, Murder Victim, Cul de Sac, Memory of a Dream, Dazed and Confused, Why Is Butter Yellow, Lonely Street Heartbreak Hotel, Ocupado, Yesterday, and Stream of Consciousness. A small golden circle directs the reader to the beginning and end point of the word or phrase. The visual result is an abstract closed-circuit system that relates in some way to the meaning of the phrase.

MAPPINGS – Each of the 12 panels has as its underlying template the alphabet, printed in light gray. Overlaid black lines connect letters, stringing them together as in connect-the-dots to spell out phrases which begin and end with the same letter: Global Warming, Mapping Room, Glass Ceiling, Murder Victim, Cul de Sac, Memory of a Dream, Dazed and Confused, Why Is Butter Yellow, Lonely Street Heartbreak Hotel, Ocupado, Yesterday, and Stream of Consciousness. A small golden circle directs the reader to the beginning and end point of the word or phrase. The visual result is an abstract closed-circuit system that relates in some way to the meaning of the phrase.

MAPPINGS – Each of the 12 panels has as its underlying template the alphabet, printed in light gray. Overlaid black lines connect letters, stringing them together as in connect-the-dots to spell out phrases which begin and end with the same letter: Global Warming, Mapping Room, Glass Ceiling, Murder Victim, Cul de Sac, Memory of a Dream, Dazed and Confused, Why Is Butter Yellow, Lonely Street Heartbreak Hotel, Ocupado, Yesterday, and Stream of Consciousness. A small golden circle directs the reader to the beginning and end point of the word or phrase. The visual result is an abstract closed-circuit system that relates in some way to the meaning of the phrase.

MAPPINGS – Each of the 12 panels has as its underlying template the alphabet, printed in light gray. Overlaid black lines connect letters, stringing them together as in connect-the-dots to spell out phrases which begin and end with the same letter: Global Warming, Mapping Room, Glass Ceiling, Murder Victim, Cul de Sac, Memory of a Dream, Dazed and Confused, Why Is Butter Yellow, Lonely Street Heartbreak Hotel, Ocupado, Yesterday, and Stream of Consciousness. A small golden circle directs the reader to the beginning and end point of the word or phrase. The visual result is an abstract closed-circuit system that relates in some way to the meaning of the phrase.

Martin Puryear’s “Untitled (Navy Pier)” was made in 1985 to coincide with the “Mile of Sculpture” exhibition on Chicago’s Navy Pier (which extends almost a mile into Lake Michigan). One of the few works on paper with color that Puryear has ever made, “Untitled (Navy Pier),” like much of his sculpture, has figurative and abstract elements. These elements include a horizon, potentially a lighthouse (somewhat reminiscent of his sculpture “Shrine” from 1985 which was also in the “Mile of Sculpture” exhibition [and is now in the Panza Collection]), a long pavilion-like structure and figures with shadows. These hint at this being imagery of Navy Pier and yet architectural details are also subsumed in the wide swaths of irregular texture. A challenging balance between flatness of picture plane, abstracted seemingly figurative elements and geometric echoing between elements (even in the pictorial “horizon” at the top and process-based “border” at the bottom) are all hallmarks of Puryear’s renowned practice. “Untitled (Navy Pier),” from early in Puryear’s career, stands strong on its own and also hints at many of the themes the artist will explore later in his career.

Martin Puryear’s “Untitled (Navy Pier)” was made in 1985 to coincide with the “Mile of Sculpture” exhibition on Chicago’s Navy Pier (which extends almost a mile into Lake Michigan). One of the few works on paper with color that Puryear has ever made, “Untitled (Navy Pier),” like much of his sculpture, has figurative and abstract elements. These elements include a horizon, potentially a lighthouse (somewhat reminiscent of his sculpture “Shrine” from 1985 which was also in the “Mile of Sculpture” exhibition [and is now in the Panza Collection]), a long pavilion-like structure and figures with shadows. These hint at this being imagery of Navy Pier and yet architectural details are also subsumed in the wide swaths of irregular texture. A challenging balance between flatness of picture plane, abstracted seemingly figurative elements and geometric echoing between elements (even in the pictorial “horizon” at the top and process-based “border” at the bottom) are all hallmarks of Puryear’s renowned practice. “Untitled (Navy Pier),” from early in Puryear’s career, stands strong on its own and also hints at many of the themes the artist will explore later in his career.

Martin Puryear’s “Untitled (Navy Pier)” was made in 1985 to coincide with the “Mile of Sculpture” exhibition on Chicago’s Navy Pier (which extends almost a mile into Lake Michigan). One of the few works on paper with color that Puryear has ever made, “Untitled (Navy Pier),” like much of his sculpture, has figurative and abstract elements. These elements include a horizon, potentially a lighthouse (somewhat reminiscent of his sculpture “Shrine” from 1985 which was also in the “Mile of Sculpture” exhibition [and is now in the Panza Collection]), a long pavilion-like structure and figures with shadows. These hint at this being imagery of Navy Pier and yet architectural details are also subsumed in the wide swaths of irregular texture. A challenging balance between flatness of picture plane, abstracted seemingly figurative elements and geometric echoing between elements (even in the pictorial “horizon” at the top and process-based “border” at the bottom) are all hallmarks of Puryear’s renowned practice. “Untitled (Navy Pier),” from early in Puryear’s career, stands strong on its own and also hints at many of the themes the artist will explore later in his career.

Martin Puryear’s “Untitled (Navy Pier)” was made in 1985 to coincide with the “Mile of Sculpture” exhibition on Chicago’s Navy Pier (which extends almost a mile into Lake Michigan). One of the few works on paper with color that Puryear has ever made, “Untitled (Navy Pier),” like much of his sculpture, has figurative and abstract elements. These elements include a horizon, potentially a lighthouse (somewhat reminiscent of his sculpture “Shrine” from 1985 which was also in the “Mile of Sculpture” exhibition [and is now in the Panza Collection]), a long pavilion-like structure and figures with shadows. These hint at this being imagery of Navy Pier and yet architectural details are also subsumed in the wide swaths of irregular texture. A challenging balance between flatness of picture plane, abstracted seemingly figurative elements and geometric echoing between elements (even in the pictorial “horizon” at the top and process-based “border” at the bottom) are all hallmarks of Puryear’s renowned practice. “Untitled (Navy Pier),” from early in Puryear’s career, stands strong on its own and also hints at many of the themes the artist will explore later in his career.