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

“Marden’s idea was to create a very physical print, one which had body, substance, and an intensity of colour comparable to his paintings. By referring to the plates on which they were made, the title of the series emphasizes the objectness of the images.”
Jeremy Lewison

Brice Marden’s untitled work from 1973 is from his project collectively titled, “Five Plates.” The largest editioned work the artist had made up until that point, the “Five Plates” are, while monochromatic, Marden’s most painterly prints. While this may seem surprising given the seemingly bold, and rectilinear imagery, the actual texture of the ink shows intense variation, much akin to Marden’s paintings of the time, yet thoroughly engaged with the printing process (as opposed to trying to mimic the texture of paint on canvas).

The three ”sections” of the composition in “Untitled” each have a distinct weight to them and by juxtaposing these variations, a viewer is able to explore and thus appreciate the different amounts of “work” done to each section. The three parts together make the dynamic and powerful work that is on view.

“Marden’s idea was to create a very physical print, one which had body, substance, and an intensity of colour comparable to his paintings. By referring to the plates on which they were made, the title of the series emphasizes the objectness of the images.”
Jeremy Lewison

Brice Marden’s untitled work from 1973 is from his project collectively titled, “Five Plates.” The largest editioned work the artist had made up until that point, the “Five Plates” are, while monochromatic, Marden’s most painterly prints. While this may seem surprising given the seemingly bold, and rectilinear imagery, the actual texture of the ink shows intense variation, much akin to Marden’s paintings of the time, yet thoroughly engaged with the printing process (as opposed to trying to mimic the texture of paint on canvas).

The three ”sections” of the composition in “Untitled” each have a distinct weight to them and by juxtaposing these variations, a viewer is able to explore and thus appreciate the different amounts of “work” done to each section. The three parts together make the dynamic and powerful work that is on view.

THE LIST PORTFOLIO consists of four of the artist’s earliest lists, made between 1987 and 1990. They have a lot to do with sound:

“Ugly Duckling” is a found alphabetical list of names excerpted from the S section of the Gary, Indiana telephone book. The names are all ungraceful sounding with their multiple consonants, until Swan, the 27th and last name on the list.

“Liszt” classifies and enumerates all of the composer’s works (sonatas, concertos, symphonies, an opera, waltzes, choral works, rhapsodies, even literary works…) into a homonymic list.

“Homophonia” is a list of words identified by the artist that each contain a pair of identical looking and sounding letters, homophonic in other words. Just one letter away from homophobia, “Homophonia” is a verbal metaphor and short cut for the larger society, demonstrating the importance of like members to structure and meaning. It has been distributed as a handout in many venues, bookended between “The Center Show” in 1989 at The Lesbian & Gay Community Services Center, New York City, and “Once Upon a Time and Now” in 2015 at The LGBT Community Center, New York.

“Liste/List” is a two-part list of French and English words. Liste, the French words, look like English words. The second part, List, is the English translation of the French Liste, which also look like English words.

THE LIST PORTFOLIO consists of four of the artist’s earliest lists, made between 1987 and 1990. They have a lot to do with sound:

“Ugly Duckling” is a found alphabetical list of names excerpted from the S section of the Gary, Indiana telephone book. The names are all ungraceful sounding with their multiple consonants, until Swan, the 27th and last name on the list.

“Liszt” classifies and enumerates all of the composer’s works (sonatas, concertos, symphonies, an opera, waltzes, choral works, rhapsodies, even literary works…) into a homonymic list.

“Homophonia” is a list of words identified by the artist that each contain a pair of identical looking and sounding letters, homophonic in other words. Just one letter away from homophobia, “Homophonia” is a verbal metaphor and short cut for the larger society, demonstrating the importance of like members to structure and meaning. It has been distributed as a handout in many venues, bookended between “The Center Show” in 1989 at The Lesbian & Gay Community Services Center, New York City, and “Once Upon a Time and Now” in 2015 at The LGBT Community Center, New York.

“Liste/List” is a two-part list of French and English words. Liste, the French words, look like English words. The second part, List, is the English translation of the French Liste, which also look like English words.

THE LIST PORTFOLIO consists of four of the artist’s earliest lists, made between 1987 and 1990. They have a lot to do with sound:

“Ugly Duckling” is a found alphabetical list of names excerpted from the S section of the Gary, Indiana telephone book. The names are all ungraceful sounding with their multiple consonants, until Swan, the 27th and last name on the list.

“Liszt” classifies and enumerates all of the composer’s works (sonatas, concertos, symphonies, an opera, waltzes, choral works, rhapsodies, even literary works…) into a homonymic list.

“Homophonia” is a list of words identified by the artist that each contain a pair of identical looking and sounding letters, homophonic in other words. Just one letter away from homophobia, “Homophonia” is a verbal metaphor and short cut for the larger society, demonstrating the importance of like members to structure and meaning. It has been distributed as a handout in many venues, bookended between “The Center Show” in 1989 at The Lesbian & Gay Community Services Center, New York City, and “Once Upon a Time and Now” in 2015 at The LGBT Community Center, New York.

“Liste/List” is a two-part list of French and English words. Liste, the French words, look like English words. The second part, List, is the English translation of the French Liste, which also look like English words.

THE LIST PORTFOLIO consists of four of the artist’s earliest lists, made between 1987 and 1990. They have a lot to do with sound:

“Ugly Duckling” is a found alphabetical list of names excerpted from the S section of the Gary, Indiana telephone book. The names are all ungraceful sounding with their multiple consonants, until Swan, the 27th and last name on the list.

“Liszt” classifies and enumerates all of the composer’s works (sonatas, concertos, symphonies, an opera, waltzes, choral works, rhapsodies, even literary works…) into a homonymic list.

“Homophonia” is a list of words identified by the artist that each contain a pair of identical looking and sounding letters, homophonic in other words. Just one letter away from homophobia, “Homophonia” is a verbal metaphor and short cut for the larger society, demonstrating the importance of like members to structure and meaning. It has been distributed as a handout in many venues, bookended between “The Center Show” in 1989 at The Lesbian & Gay Community Services Center, New York City, and “Once Upon a Time and Now” in 2015 at The LGBT Community Center, New York.

“Liste/List” is a two-part list of French and English words. Liste, the French words, look like English words. The second part, List, is the English translation of the French Liste, which also look like English words.

“Money Creates Taste”, functionally, is a glass paperweight. It incorporates one of Jenny Holzer’s “Truisms” (1977-79), which she wrote to resemble existing truisms, maxims, and clichés. Each Truism distills difficult and contentious ideas into a seemingly straightforward fact. Privileging no single viewpoint, the “Truisms” examine the social construction of beliefs, mores, and truths all while questioning issues of fact, narrative and viewpoint.

The “Truisms” first were shown on anonymous street posters that were wheat-pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. As for this specific piece, the words are etched in glass and get warped as one looks at them.  This visual alteration of the words gives a viewer a sense that the statement is not quite “true”. Furthermore, looking at the form of a paperweight, the text is actually meant to hold things down, which is not always a good thing.

For more than forty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art and the Louvre Abu Dhabi. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990, the World Economic Forum’s Crystal Award in 1996, and the Barnard Medal of Distinction in 2011. She holds honorary degrees from Williams College, the Rhode Island School of Design, The New School, and Smith College. She lives and works in New York.

“Money Creates Taste”, functionally, is a glass paperweight. It incorporates one of Jenny Holzer’s “Truisms” (1977-79), which she wrote to resemble existing truisms, maxims, and clichés. Each Truism distills difficult and contentious ideas into a seemingly straightforward fact. Privileging no single viewpoint, the “Truisms” examine the social construction of beliefs, mores, and truths all while questioning issues of fact, narrative and viewpoint.

The “Truisms” first were shown on anonymous street posters that were wheat-pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. As for this specific piece, the words are etched in glass and get warped as one looks at them.  This visual alteration of the words gives a viewer a sense that the statement is not quite “true”. Furthermore, looking at the form of a paperweight, the text is actually meant to hold things down, which is not always a good thing.

For more than forty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art and the Louvre Abu Dhabi. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990, the World Economic Forum’s Crystal Award in 1996, and the Barnard Medal of Distinction in 2011. She holds honorary degrees from Williams College, the Rhode Island School of Design, The New School, and Smith College. She lives and works in New York.

“Money Creates Taste”, functionally, is a glass paperweight. It incorporates one of Jenny Holzer’s “Truisms” (1977-79), which she wrote to resemble existing truisms, maxims, and clichés. Each Truism distills difficult and contentious ideas into a seemingly straightforward fact. Privileging no single viewpoint, the “Truisms” examine the social construction of beliefs, mores, and truths all while questioning issues of fact, narrative and viewpoint.

The “Truisms” first were shown on anonymous street posters that were wheat-pasted throughout downtown Manhattan, and subsequently have appeared on T-shirts, hats, electronic signs, stone floors, projections and benches, among other supports. As for this specific piece, the words are etched in glass and get warped as one looks at them.  This visual alteration of the words gives a viewer a sense that the statement is not quite “true”. Furthermore, looking at the form of a paperweight, the text is actually meant to hold things down, which is not always a good thing.

For more than forty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art and the Louvre Abu Dhabi. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990, the World Economic Forum’s Crystal Award in 1996, and the Barnard Medal of Distinction in 2011. She holds honorary degrees from Williams College, the Rhode Island School of Design, The New School, and Smith College. She lives and works in New York.