Gemini G.E.L.: Recent Prints and Sculpture

Gemini GILR E C E N T P R I N T S

AND S C U L P T U R E

Gemini GILR E C E N T P R I N T SA N D S C U L P T U R E

Charles Ritchie

WITH INTRODUCTION BY

Ruth E. Fine

National Gallery of ArtWashington

Exhibition dates:June 5-October 2, 1994

Copyright © 1994. Board of Trustees, NationalGallery of Art, Washington. All rights reserved.This book may not be reproduced, in whole or inpart, in any form (beyond that copying permittedby Sections 107 and 108 of the U. S. CopyrightLaw and except by reviewers for the public press)without written permission from the publishers.

Produced by the Editors Office,National Gallery of ArtFrances P. Smyth, editor-in-chiefChris Vogel, designer

Jane Sweeney, editorTypeset in Trump MedievalPrinted on Warren Lustro Offset Enamel bySchneidereith and Sons, Baltimore, Maryland

Photo credits:Douglas Parker: cat. 43 © 1986; cat. 46 <cats. 44, 45 © 1992James Reid: page 12 © 1994

Cover: cat. 2. Elizabeth Murray,Thirty-Eight: Trying To, 1993Frontispiece: cat. 66. David Hockney,Four Part Splinge, 1993Back cover: cat. 29. Claes Oldenburg,Sneaker Lace Sculpture, 1990

Library of CongressCataloging-in-Publication Data

Ritchie, Charles M.Gemini G.E.L.: recent prints and sculpture /Charles Ritchie; with introduction by Ruth E. Fine

p. cm."Exhibition dates, June 5-October 2, 1994"—T.p. verso.Includes bibliographical references and index.ISBN 0-89468-123-0I. Gemini G.E.L. (Firm)—Exhibitions. 2. Art,American—Exhibitions. 3. Art, Modern—20thcentury—United States—Exhibitions. 4. Art—Washington (D.C.)—Exhibitions. 5. NationalGallery of Art (U.S.)—Exhibitions. I. GeminiG.E.L. (Firm) II. National Gallery of Art (U.S.)III. Title.N6537.G435A4 1994?69.973'o9'o48o74753 — DC2O 94-19078

CIP

Contents

ForewordEarl A. Powell III7

A ckn o wledgm en tsCharles Ritchie9

IntroductionRuth E. FineI I

Gemini G.E.L.Recent Prints and SculptureCharles Ritchie15

Checklist71

Glossary87

Bibliography89

Index by Artist90

\mrnt

ith the establishment of the EastBuilding in 1978, the NationalGallery of Art embarked on anexpanded program of collecting and

exhibiting contemporary art in whichprints have played a pivotal role. A seminaldevelopment was the donation in 1981 of256 prints and sculpture editions producedby twenty-two contemporary artists work-ing at Gemini G.E.L., the Los Angelesprintmaking and edition sculpture work-shop. This gift from Sidney B. Felsen andStanley Grinstein, owners of Gemini, andfrom the artists involved founded theGallery's Gemini G.E.L. Archive. This gen-erosity has continued over the interveningyears. The collection has grown extensivelyand is intended to include one example ofeach of Gemini's published editions. Thusthe Archive preserves the history of thisimportant workshop and establishes theNational Gallery as a center for the studyof contemporary graphic art and editionsculpture.

The Gallery is proud to take stock ofthe status of the Gemini G.E.L. Archiveby exhibiting highlights of recent editions.Our deepest thanks go to Sidney B. Felsenand Stanley Grinstein. Their continuinggenerosity and vision have made this exhi-bition and catalogue a reality, and theirunflagging commitment to the NationalGallery of Art has been critical to the blos-soming of the Gallery's contemporary hold-ings. The Gallery is also indebted toRosamund Felsen, Elyse Grinstein, and JoniWeyl Felsen and to the artists who haveworked at Gemini for their support of theArchive collection. For their imaginativecontributions to this exhibition we aregrateful to John Baldessari, Jonathan

Borofsky, Daniel Buren, Vija Celmins, thelate Richard Diebenkorn, Mark di Suvero,Dan Flavin, Sam Francis, David Hockney,Jasper Johns, Ellsworth Kelly, EdwardKienholz, Nancy Reddin Kienholz, RoyLichtenstein, Malcolm Morley, ElizabethMurray, Bruce Nauman, Claes Oldenburg,Kenneth Price, Robert Rauschenberg, SusanRothenberg, Richard Serra, Saul Steinberg,and James Turrell. Finally, we are indebtedto Dr. and Mrs. Phillip T. George for thegenerous loan of their sculpture.

Charles Ritchie, assistant curator ofmodern prints and drawings at theNational Gallery, has organized this exhi-bition and prepared the accompanying vol-ume with the critical involvement ofAndrew Robison, Andrew W. MellonSenior Curator, and Ruth E. Fine, curatorof modern prints and drawings. Many staffmembers, at both Gemini G.E.L. and theNational Gallery of Art, have facilitatedthis undertaking and are recognized in theacknowledgments.

With many beneficial forces conjoiningat the National Gallery, as we approach thecentury's end we look forward to expand-ing our role as a center for the study of con-temporary art. The Gemini G.E.L. Archivewill continue to play a visible role not onlywithin the Gallery walls, but also as a partof the National Lending Service exhibitionsprogram. The eloquent and provocativeprints and sculpture in the Archive are cer-tain to educate, delight, and enlightenfuture generations.

Earl A. Powell IIIDirectorNational Gallery of Art

43Robert Rauschenberg,Tibetan Keys and Locks:Tibetan Keys (Centers),1987

w

7

his exhibition and catalogue wouldhave been impossible without the verydependable help of many people atGemini G.E.L., and in particular, I

would like to thank Sidney B. Felsen andStanley Grinstein. Others who generouslyshared insights into the making of theworks in the exhibition are James Reid,Nancy Ervin, Joni Weyl Felsen, and RonMcPherson. Octavio Molina supplied thedocumentation sheets, provided informa-tion, and coordinated numerous, often diffi-cult arrangements with enthusiasm andgood cheer. Also essential were SuzanneFelsen and Dorothy Halic, who have pro-vided assistance over the course of this pro-ject. Heartfelt thanks go to those others ofthe staff who have contributed, bothdirectly and indirectly, to the realization ofthis undertaking.

At the National Gallery I thank Earl A.Powell III, director, Alan Shestack, deputydirector, and Andrew Robison, Andrew W.Mellon Senior Curator, who have stronglysupported this project. Ruth E. Fine, cura-tor of modern prints and drawings, hasbeen a source of expertise, information, andencouragement as well as active in everyaspect of the formation of this exhibitionand catalogue. Greatly appreciated has beenthe assistance of Carlotta J. Owens, MaryLee Corlett, Victoria Foster, Ani Bedros-sian, and the interns who have workedwith the Gemini G.E.L. Archive: KimberlyBockhaus, Susan Funkenstein, Maria Los,Ilaria Fusina, and Mikka Gee. The Gallery'smatter/framers, especially Hugh Phibbs andhis coworkers Jamie Stout, Shan Linde, andElaine Vamos, deserve thanks for respond-ing to the distinctive requirements of manyof these works of art.

For their help with the catalogue andexhibition graphics, we thank Frances P.Smyth, editor-in-chief, Chris Vogel, JaneSweeney, Tarn Curry, and Wendy Schlei-cher. We also thank Gaillard Ravenel, MarkLeithauser, Gordon Anson, William Bowser,Barbara Keyes, Jeff Wilson, and their exhibi-tion design team. D. Dodge Thompson,chief of exhibitions, and Kathleen McCleeryhave ably coordinated administrative mat-ters. The thoughtful comments of MarkRosenthal, curator of twentieth-century art,have been extremely useful. Gratitude isdue Sally Freitag, Mary Suzor, MarthaBlakeslee, and the art handlers in theregistrar's office; Richard Amt, Ira Bartfield,William Wilson, Dean Beasom, PhilipCharles, Richard Carafelli, James Locke,Bob Grove, and Sara Sanders-Buell in thedepartment of imaging and visual services;Shelley Fletcher, Judith Walsh, YoonjooStrumfels, Julia Burke, Shelley Sturman,Judy Ozone, and Jay Krueger in the conser-vation laboratories; Neal Turtell, FrancesLederer, Ted Dalziel, Thomas McGill, Jr.,Roberta Geier, and Robert Gibbons in thelibrary; Susan Arensberg in the educationdivision; Margaret Parsons in film pro-grams; Genevra Higginson and PaulineWatona in special events; Ruth Kaplan,Tina Coplan, Nancy Soscia, and LilaKirkland in the information office; andFrank Schiavone and Patrick Beverly inprinting and duplicating. And finally Ithank Virginia Ritchie for her professionalassistance in matting and framing as wellas for her untiring patience and support.

Charles RitchieAssistant CuratorModern Prints and Drawings

26Roy Lichtenstein,Landscapes: View from theWindow, 1985

Acknowledgments

9

T

Ruth E. Fine

Artists have associated with skilledcraftsmen and supportive sponsors forcenturies, using their expertise andinterest to facilitate the realization

and dissemination of their ideas for worksof art. This history provides a context forthe activities of dozens of artists who havecreated prints and edition sculpture in LosAngeles at the Gemini G.E.L. workshop. Inaddition, the technical and social milieusurrounding the practice of art in the sec-ond half of the twentieth century in theUnited States introduced a distinctivecharacter to the centuries-old connectionsamong artists, printers and other technicalexperts, and sponsoring publishers.

In the collaborative relationship that isat the heart of Gemini, these participantseach play a specific role.1 Although everyproject—a single work of art or a series,relatively simple in nature or technicallycomplicated—is different from every other,some factors remain constant. At the startof each Gemini project, the artist intro-duces the concept, the appropriate techni-cal experts contribute their skills and infor-mation about materials and processes, andthe publishers, Sidney B. Felsen andStanley Grinstein, provide support bothfriendly and financial. Yet this is far toosimplistic an explanation for the synergismby which the magical works produced atGemini come into being. Because the cen-tral function of Gemini is always to helpgive form to an artist's ideas, the interac-tion among artist, staff, and publishers ishardly so preordained, and the evolution ofprojects is as extraordinarily varied as arethe objects themselves.

Gemini is a high-energy place. RobertRauschenberg has been known to work

there around the clock; Sam Francis, towork in the Gemini studio in the privacyand silence he finds at 3:00 A.M.; more thana dozen members of the staff, to work inthree consecutive eight-hour shifts, print-ing Roy Lichtenstein's large, multimediaeditions in timely fashion; object fabrica-tors, to experiment for months to meet thechallenges for specific effects that artistsincluding Jonathan Borofsky and ClaesOldenburg have presented. Even suchseemingly straightforward accomplish-ments as maintaining Jasper Johns' delicatelithographic washes or Ellsworth Kelly'ssleek flat surfaces require printers withconsummate skill at the press.

In recent years Gemini staff workingwith David Hockney have used computer-generated elements to color proof theartist's variations and color swatches toperfectly match the artist's hues; andworked for more than three years withRichard Serra to develop a multilayeredaquatint process that provided the extraor-dinarily dense surface the artist was seek-ing for his etchings.

Gemini's high energy depends uponcountless conversations among artist, pro-ject director (one or more is assigned toeach undertaking), and publisher: in person,by telephone, or, in recent years, on papervia the FAX machine that has so trans-formed communication. This is especiallytrue during the proofing stages of the work,at which every aspect of producing an edi-tion of prints or an object in multiplecopies is being explored and finalized, andprogress at the workshop calls for anartist's ongoing review. Discoveries of newmaterials and techniques not only have animpact on works in progress, but also may

10John Baldessari, A FrenchHorn Player, a Square BlueMoon, and Other Subjects:Accordionist (with Crowd),1994

II

Introduction

A

Gemini staff members inthe lithography shop: (fromleft) James Hirahara, StanleyBaden, Claudio Stickar,Stephanie Wagner, JenniferAzzarone, and DesireeScott, April 1994

12 I F I N E

stimulate an artist's ideas for new projects,another aspect of this special synergy.

The notion that anything is possible hasbeen a hallmark of Gemini's style since itsfounding. For example, presses have beenrebuilt to accommodate the increasing sizeat which artists want to work; boardsand papers have been specially made toGemini's specifications if nothing commer-cially available suits an artist's needs; andthe nature of printed form has beenexplored repeatedly, with pieces in threedimensions taking their place alongsidemore traditional formats.

Chemistry on a human level—theinteraction among the Gemini owners,artists and their families and friends, andworkshop staff, especially the project direc-tor—is an equally important part of theworkshop's story. Flowers in the artist'sstudio are different for each temporaryinhabitant; music played in the shopchanges as well—Mozart for DavidHockney, Philip Glass for Richard Serra,

jazz and rock most often when no artist isat work in-house. There is a sense of com-munity evident in the printers' workingtogether to maintain the standards of uni-formity essential to their editions and inthe care with which curators review edi-tions before they are presented to the artistfor signing. All of this is encompassed bythe pride and enthusiasm with which thepublishers themselves discuss each newproject and the sense of celebration andrelease that is visibly apparent at Gemini'sexhibition openings, the usual means bywhich each new series of work is intro-duced to the public.

But celebration is a component of every-day life at Gemini, it would seem. Cele-bration of the artist, celebration of theprocess, and celebration of the public thatembraced Gemini G.E.L.'s publicationsstarted almost immediately after its found-ing in 1966, acknowledging the LosAngeles facility as one of the world'spreeminent publishing workshops.

NoteI. For a more comprehensive study of this aspect ofGemini's history, see this author's Gemini G.E.L.:Art and Collaboration [exh. cat. National Galleryof Art] (Washington, 1984).

I N T R O D U C T I O N 13

Gemini Gil.: Recent Prints nnd SculptureCharles Ritchie

' hat is a print? What is sculpture?' What are editions? Artists workingat Gemini G.E.L., the important LosAngeles printmaking and edition

sculpture workshop, continue to probethese questions after more than twenty-fiveyears. Today, a print can be far more thanthe simple transfer of ink from matrix* topaper. Techniques, materials, and conceptsdeveloped at Gemini have been nothingless than revolutionary. Gemini prints nowvary in size from the minute to the behe-moth; prints improvise on photographicprocesses,- prints are formed in high sculp-tural relief; and they are augmented withmotorized parts. No less ingenious are thesculptural pieces created at the workshopthat have even been programmed to radiatelight and sound. Gemini has pioneered inusing state-of-the-art materials and tech-nology to produce spectacular editions ofobjects. Variants in both two and threedimensions erase the old notion of uniformeditions of multiple impressions, each likeall the others. The workshop's ability tovirtually reinvent itself in response to visit-ing artists7 needs allows it to remain in thevanguard, constantly rethinking the limitsof what an art multiple can be.

In 1981 the National Gallery of Artreceived its Gemini G.E.L. Archive, and in1984 the Gallery's comprehensive exhibi-tion, Gemini G.E.L.: An and Collabora-tion, surveyed the atelier's extraordinaryproduction to that point in time.1 The pres-ent exhibition and catalogue are intendedto explore milestones among some fivehundred editions that have been realizedsince, following the developments of someof today's legendary creative minds. Artistswith long-standing connections to Gemini

G.E.L. whose work has graced both exhibi-tions include Jonathan Borofsky, VijaCelmins, Richard Diebenkorn, Mark diSuvero, Sam Francis, David Hockney,Jasper Johns, Ellsworth Kelly, EdwardKienholz and Nancy Reddin Kienholz, RoyLichtenstein, Bruce Nauman, Claes Olden-burg, Kenneth Price, Robert Rauschenberg,and Richard Serra. Their continuing searchfor new means of expression is clearlyreflected in their recent work at Gemini.

Gemini is constantly enlarging its circleas well. John Baldessari, Daniel Buren, DanFlavin, Malcolm Morley, Elizabeth Murray,Susan Rothenberg, Saul Steinberg, andJames Turrell, not represented in the 1984National Gallery show, debut here withspectacular work. The sensitivity of Gem-ini to the recent pulse of contemporary artand the workshop's uncanny ability toreflect the spectrum of contemporaneousconcerns are among its most remarkablecharacteristics. The exhibition and cata-logue are organized with this in mind.

New ApproachesThe exhibition first surveys broadly what isnew at Gemini—new artists and newdirections—and sketches a stylistic con-text for the four sections that follow. Thisselection reveals the plurality of artisticconcerns in the past decade. The excitingrenaissance of interest in figuration is rep-resented in the work of Elizabeth Murrayand Susan Rothenberg. The traditions ofrealism are extended with the meticulous

* Technical terms and processes have been definedin this volume's glossary, but a basic knowledgeon the part of the reader of printmaking processesand the terminology of prints has been assumed.Some general references, however, are listed in thebibliography.

2Elizabeth Murray, Thirty-Eight: Trying To, 1993

15

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Elizabeth Murray, Thirty-Eight: Future, 1993

work of Vija Celmins, while Saul Stein-berg's surrealism takes off in new direc-tions. Also included are works by the wittyconceptualist John Baldessari. Prints bysculptors are included in the reductivistvision of Dan Flavin and the evocativeabstraction of Mark di Suvero, and KennethPrice mines new areas of formal expressionin editions of objects. These threads of cre-ativity weave a tapestry that exhibits theflexibility of this great workshop.

Elizabeth Murray's Future (cat. i) andTrying To (cat. 2) are two from a seriesentitled Thirty-Eight, unique collage con-

structions that speculate on possibilities ofan architecture of paper. Murray's twistedfigure, an amalgamation of tubes and ori-fices, is a creature of contrasts with brashcolors colliding in a patchwork of fluctuat-ing curvilinear and angled surfaces.

Each piece consists of three paper ele-ments—a figure and two base layers—enlivened with a sequence of printed col-ors. The figure, with its embossed texturedsurface, was hand cut and folded into aunique, three-dimensional configuration.Openings in the outer base layer reveal thenewspaper text below. After these three

16 | R I T C H I E

Susan Rothenberg,Boneman, 1986

layers were laminated, the lively contour ofthe base was cut out, and the artist applieda range of pastel, melding color, text, andvibrant surface detail in a flurry of visualtexture.2 Individual titles for each work inthe series were extracted from the newspa-

per text. These prints on this intimatescale share the vitality of Murray's largerconstructions in paint and shaped canvas.

Another artist whose vocabulary hasextended the figurative revival is SusanRothenberg. Her Boneman (cat. 3) bril-

G E M I N I G . E . L . : R E C E N T P R I N T S A N D S C U L P T U R E 17

3

Susan Rothenberg, Breath-man, 1986

liantly reinvigorates mezzotint, a some-what neglected and taciturn printmakingprocess. By scraping and/or smoothing outthe finely pitted surface of a speciallytreated copper plate, the artist has alteredits receptivity to ink: thus Boneman's mys-terious figure was opened out of a lushatmospheric background. The grain of thewood-veneer paper rakes the darkness, uni-fying the composition and representing a

particularly satisfying use of an unusualsupport. Rothenberg's Breath-man (cat. 4)seems high-key and musical by contrast,with swirling furrows of drypoint intermin-gled with engraving and tangled about araw woodcut figure. The greenish rectangleleans off-kilter on the gray paper, establish-ing an inner framing device. Breath-mandemonstrates Rothenberg's mastery ofcomposition and her ability to effectively

18 R I T C H I E

4

and economically balance a range ofgraphic materials and techniques.

Vija Celmins continues her investiga-tions of intaglio at Gemini with a signa-ture image, the sea. Drypoint—OceanSurface—2nd State (cat. 5) transforms avast subject into a tiny image floating amidbroad borders of white paper, revealing theironic tinge beneath her transcendentalrealism. Celmins7 frozen drypoint ocean, atonce static and full of motion, casts the eyeamong many anonymous waves. Its roman-tic spell is somewhat undermined by a fewspare verticals and horizontals, the evoca-tion of a grid. Celmins used another kind ofstructure in Concentric Bearings, D (cat. 6),

Vija Celmins, Drypoint—Ocean Surface—2nd State,1985

Vija Celmins, ConcentricBearings, D, 1984, pub-lished 1985

G E M I N I G . E . L . : R E C E N T P R I N T S AND S C U L P T U R E | 19

5

6

7Saul Steinberg, Gogol I,1984

8Saul Steinberg, Gogol V,1984

9John Baldessari, A FrenchHorn Player, a Square BlueMoon, and Other Subjects:Money (with SpaceBetween), 1994( O P P O S I T E ]

which is one of a series of prints that com-bine in different formats four intaglioplates: star fields, a monoplane, andan optical device invented by MarcelDuchamp. The images suggest the problemof depicting a moving object in a singleimage. Two possibilities are apparent: thefreeze-frame image of the arrested mono-plane and the blurred image of the opticaldevice. These are balanced with starswhose light is a metaphor for the puzzle oftime and space. Concentric Bearings, Dmixes mezzotint, aquatint, and drypoint aswell as photogravure, a process by whichsome of the images are transferred to theintaglio plate using photographic meansbefore extensive reworking by the artist.

Saul Steinberg's musings on the mindand reality have shifted media from hiswell-known pen drawings into intaglio. His1984 prints Gogol I (cat. 7) and Gogol V(cat. 8) belong to a series of four3 spoofing atale, by the nineteenth-century Russianwriter Nicolay Vasilyevich Gogol, aboutthe nose of Collegiate Assessor Kovalev.4 In

each portrait the nose is uniquely impossi-ble: in Gogol I it retreats into the headwhile in Gogol V it soars outward as hyper-active calligraphy. Steinberg's printsremind us that we view the depiction of asubject and not the subject itself, an ideadirectly descended from Rene Magritte'spainting of a pipe inscribed with the title"Ceci n'est pas une pipe (This Is Not aPipe)/7 Mock stamps are affixed to theGogol prints, further objectifying and docu-menting them with the artist's smirk ofapproval.

John Baldessari selects imagery largelyfrom preexisting movie stills, advertising,and other media sources, exploring newways to bring the world into the work ofart and vice versa. Two works in lithographand screenprint from his Gemini seriesA French Horn Player, a Square BlueMoon, and Other Subjects are representedhere. In Money (with Space Between) (cat.9) Baldessari used colored balls to blot outfamiliar photographic cues as a means offrustrating habitual patterns of reading

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IIDan Flavin, (to Don Judd,colon's tj 2, 1986, published1987

media imagery. By dividing the composi-tion into two panels he also deemphasizedthe illusion while subtly connecting thespace between depicted figures with theactual space of the room. The artist's inter-est in format often leads him to reject ortransform the omnipresent rectangle. Thedistinctive composition found inAccordionist (with Crowd) (cat. 10, seepage 10) conjoins two similarly propor-tioned but different-size rectangles in a top-pled "V format. The dialogue suggested in

the title extends to other levels of interac-tion including the interplay of formal ele-ments, for example the rhythms of the ver-tical curtain folds against the lateral rush ofmulticolored balls. In fact, appropriationssuch as Accordionist (with Crowd) oftencontemplate such dualities: static isolatedfigure versus active crowd, openness versushiddenness, subdued tonalities versusbright, wide-ranging color. The ensuingtension between these lends potency andessential mystery to his work. It is fittingly

22 | R I T C H I E

ironic that Baldessari's conceptualism hasutilized the Gemini collaborations as ameans of disseminating his largely media-based art. By restructuring media informa-tion as a multiple to be distributed, hemimics the role of the media as he com-pletely subverts its messages.

Dan Flavin is best known for his instal-lations of fluorescent tubes that carveluminous sculpture from the walls, floors,and ceilings of architectural settings. Printsare relatively rare in Flavin's oeuvre, but

the artist's (to Don Judd colorist)2 and(to Don Judd colonst)^ (cats, n, 12) investlithography with similar concerns of cap-turing actual light and form. Single colorsdominate each work in the series,- in (toDon Judd colorist)2 it is an intense red andin (to Don Judd colorist)3 a sparklingyellow. These color fields press upwardagainst an unprinted band of the handmadepaper revealing subtle color casts in thepapers themselves, greenish in the formerand purplish in the latter. This draws

12Dan Flavin, (to Don Judd,colorist)3, 1986, published1987


13Mark di Suvero, SantanaWind, 1990

attention to the paper's strong deckle andtopography. The lateral device also reflectsFlavin's architectural and luminist themes.Often titling his works as homages to oth-ers, this particular piece is from a series ofseven prints dedicated to the minimalistsculptor Donald Judd, who died this year.

In a shift from his earlier sculpturalinvestigations at Gemini, Mark di Suverohas created Santana Wind (cat. 13). Theaquatint and drypoint print combines twoindependently realized ideas: a dark, vigor-ously brushed armature superimposed overa complex field of interlocking forms.5 This

dramatic integration of subject and contextrecalls di Suvero's grand-scale outdoorsculptures, which forcefully engage the sur-rounding earth and sky. The evocative title,referring to the great hot California winds,sustains the landscape atmosphere of thisvisionary abstraction without invokingparticulars.

While best known as a sculptor inceramics, Kenneth Price has formerly pub-lished only editions of prints at Gemini.Chet (cat. 14) and California Cup (cat. 15)belong to his first series of sculpture edi-tioned at the atelier. Price redefines the tra-

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ditional vehicle of the cup—a void cradledin an object—as a nonfunctional, lyricalabstraction that weds color and form insensuous balance. Wooden display boxesdesigned by the artist are beautiful comple-ments, their crisp lines and warm mattesurfaces playing off the hard gloss of theglazed earthenware vessels.6

Geometry and AbstractionRichard Diebenkorn, Ellsworth Kelly, SamFrancis, and Roy Lichtenstein have fre-quently distilled the visual world into

underlying structures, creating universesthat demonstrate their own internal logic.Gemini has been instrumental in translat-ing their ideas into print. At the workshopduring the past decade, each of the four hasmade surprising reinterpretations of mod-ernist abstraction. From Kelly's vast single-sheet lithograph Purple/Red/Gray/Orangeto the intimate group of lithographs byDiebenkorn, from the biomorphs ofFrancis7 Untitled to the crisp lines ofLichtenstein's large-scale productions,these new constructs are milestones in

14Kenneth Price, Chet, 1991

15Kenneth Price, CaliforniaCup, 1991

16Richard Diebenkorn,Untitled #2, 1993



18Richard Diebenkorn,Untitled #4, 1992,published 1993

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concept and technique for the artists andfor the shop that produced/published them.

Richard Diebenkorn's five 1993Untitled works are from a group of tenblack and white lithographs, the last printsthat the artist completed before his deathin the same year.7 On this intimate scalethe artist reasserted the exceptional vigorand variety of his markmaking despite fail-ing health. Developed from drawings onMylar for transfer to the printmakingmatrix, the works touch on a range of styl-istic approaches and thematic concernsthat preoccupied the artist during hiscareer. Untitled #2 (cat. 16) has many openareas that are the product of an archaeolog-ical scraping away of the drawn marks in asearch for elemental structure. Untitled #3




21Ellsworth Kelly,Purple/R ed/Gray / Orange,1988

22Ellsworth Kelly, Dark GrayCurve (State I), 1988

28 | R I T C H I E

(cat. 17) creates the strongest environmentof dark and light, soft and hard contrasts,all revealed in an intuitive search for form.Untitled #4 (cat. 18) has the assured spon-taneity of a calligraphic brush drawing.Untitled #5 (cat. 19) has a dynamic formalorder suffused with a fluid atmosphere.And Untitled #7 (cat. 20) improvises withplaying-card motifs, mixing symbolsamong less readable figures. Together withthe rest of the group, these impressionscompress a lifetime of astute understand-ings about printmaking into a single seriesof images.

Ellsworth Kelly has also diversified andexpanded upon earlier themes at Geminiover the past decade. In his continuingseries of geometric abstractions, he empha-sizes spare, pristine surfaces, immaculate

edges, and Tightness of proportion in orderto simultaneously alter and reveal thelight, shadow, and air of our visual world.The eighteen-foot-long Purple /Red /Gray/Orange (cat. 21) may be the largest single-sheet lithograph ever made. In fact, thepaper was kept partially rolled while eachof the four different-color shapes was indi-vidually printed. On this monumentalscale, Kelly's pure geometries have a pres-ence and impact previously unrealized inhis prints. As an interesting variation, DarkGray Curve (State I) (cat. 22) derives from aseries of works whose hard geometric char-acter was softened with broken veils thatpermeate the shapes with atmosphere.Kelly encouraged the chance rhythms ofhand and instrument by creating a washdrawing on Mylar. The drawing was then


23Ellsworth Kelly, Jack/Gray,1990

24Ellsworth Kelly, Jack/Red,1990

25Sam Francis, Untitled, 1986( O P P O S I T E )

transferred photographically to the litho-graphic plate with careful attention toretaining nuances of tonal variation. Thesetextures have a correspondence with wood-grain and weathering patterns that wereintegral to the artist's sculpture of the19705 and date back to 1950 as experi-ments with randomness and accidental sur-faces.8 Jack/Gray (cat. 23) and Jack/Red(cat. 24) belong to a series of faces in whichthe artist cultivated chance effects byrepeatedly photocopying the originalimages. These portraits in lithograph ofKelly's friend Jack Shear, while appearingas a surprising twist in the artist's Geminioeuvre, actually have a place in the long

history of the artist's portrait drawings offriends. They can also be seen as exten-sions of Kelly's studies from nature as wellas reflecting his interest in using photo-graphic processes to abstract the world.

Best known for his work in lithographyand intaglio, Sam Francis also has venturedinto the screenprint medium. His Untitled(cat. 25) is composed of the trails, blots,strokes, and pepperings that are the sponta-neous and intricately nuanced forces ofnature. As in a random view through tele-scope or microscope, the borders of thesheet seem to isolate a bit of order from aninfinite chaos that extends beyond. Thiscomplex, thirty-six-color impression glows

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G E M I N I G . E . L . : R E C E N T P R I N T S AND S C U L P T U R E I 31

27Roy Lichtenstein,"Imperfect" Series:Imperfect 67" x 79 j/8".1988

with intense primaries and buoyant pastelsand with the rich tonal variations charac-teristic of Francis7 more recent screen-prints. Subtlety is achieved by the artist'sdrawing on Mylar overlays that were trans-ferred to multiple screens rather than byhis drawing directly on the screens.9

Francis has collaborated with Gemini topush the screenprint medium to a level ofrefinement necessary to carry the essentialbeauty of his surfaces.

Roy Lichtenstein's fascination withvisual vocabularies and the history of artled him to explore a series of sevenLandscapes at Gemini in 1985. Developingcompositions with affinities to works bythe German expressionists, Vincent van

Gogh, and others as a starting point, hecleverly distilled building blocks of con-trasting brushstrokes: soft ones in lithogra-phy and screenprint against hard cartoon-like ones in woodcut. While View from theWindow (cat. 26, see page 8) is reminiscentof the painter Henri Matisse's window onNice, these antithetical components alsocall attention to themselves as marksalone. Brushstrokes in lithography andscreenprint were first painted on vellumand then transferred to photosensitizedplates or screens.10 Lichtenstein hasbecome more interested in woodcut inrecent years. Examples such as View fromthe Window and other works included hereare notable for the artist's devotion to carv-

32 | R I T C H I E

ing the blocks himself, on which he oftenspends four to six weeks to do the work.

Lichtenstein has continued to developlarge-scale serial projects at Gemini overthe years. His Imperfect 67" x 79%" (cat. 27)is so titled because the triangular point atright and the small red band at the bottomskip beyond the perimeter of the "perfect"rectangle to invade the print border. This isone of seven printed "Imperfect" abstrac-tions in which the artist juggled a plethoraof geometric shapes and colors and a vari-

ety of media including collaged, reflectiveMylar elements around a single tongue-in-cheek concept. Contrasting with Imperfect67" x jy/s" in subject matter but rivaling itsimposing size, Blue Floor (cat. 28) reflectsthe artist's continued interest in scaveng-ing among forgotten corners of the popularcommunications media for source material.Illustrations discovered in the Rome, Italy,classified telephone directory served as theprimary models for his Interior series.For Blue Floor as well as the other seven

28Roy Lichtenstein, InteriorSeries: Blue Floor, 1991


29Claes Oldenburg, SneakerLace Sculpture, 1990

Interiors, the artist enlarged the originalimage to approach a full-size room whilemaintaining the original commercial artstylizations. Lichtenstein augmented thesewith his own broken lines for reflections,sponging for foliage, interwoven squigglesfor wood grain, and parallel diagonals andBenday11 dots for tone in order to humor-ously magnify the chasm between realityand the images that interpret it.

Object and WorldClaes Oldenburg, Robert Rauschenberg,and Jasper Johns have all worked at Geminisince its earliest years. These veterans ofthe atelier continue to imaginatively com-press the visual world into their creations.Claes Oldenburg subverts our expectationsby inviting us to review objects in novelstates and contexts. Robert Rauschenberg'skaleidoscopic imagery springs from his per-sonal experiences as well as from materials

34 I R I T C H I E

30Claes Oldenburg, SneakerLace in Landscape withPalm Trees, 1991

collected on his travels. Jasper Johns7 ico-nography is layered with associations andoblique references to objects and subjectsof private significance. Each extends thelegacy of the surrealist object—the newand surprising object in the world.

In the surrealist tradition, ClaesOldenburg's Sneaker Lace Sculpture (cat.29) surprises on numerous levels. First, ittransforms what is usually understood tobe a soft structure—a canvas sneaker and

its laces—into a rigid sculpture of stainlesssteel. Second, it endows the same ignoblesubject with human characteristics, com-plete with vivified spinal column and wag-ging tongue. Finally, it presents this com-mon object on an uncommon scale,inviting the viewer to interpret it as evi-dence of the project's existence elsewherein the world or as a maquette for proposedconstruction. Expanding upon this notion,the lithograph Sneaker Lace in Landscape


3 1Claes Oldenburg,Profiterole, 1990

with Palm Trees (cat. 30) functions as a siterendering, conveying specific scale to thework by envisioning it as one of severalpalm trees in a balmy landscape. Note howthe artist chose buff paper to lend a warmglow to the overall effect. The SneakerLace Sculpture and related prints have theirroots in an earlier Gemini work, the 1968Notes portfolio where the theme originallyappeared. Another surrealist object, Olden-burg's Profiterole (cat. 31), is a delightfulaggrandizement of the miniature dessert.Cast in aluminum, it relishes the irony oflooking delicious but being completelyinedible. According to the artist, PieterBruegel's painted Tower of Babel wasamong his inspirations, confirmingOldenburg's continued fascination witharchitecture and the grandiose.

Some of Oldenburg's new Geminiworks interpret narratives. Thrown InkBottle with Fly and Dropped Quill (cat. 32)is a fantasia on an obscure legendary eventin the life of Martin Luther, the sixteenth-century German religious reformer. Think-ing a fly was the devil distracting him fromhis work, Luther flung a bottle of ink at it,creating a venerated spot that remained inWartburg castle, near Kassel, Germany, forcenturies. Oldenburg's splattered litho-graph enjoys the pun of ink representingink. In a more open narrative, Oldenburg'sApple Core series of lithographs (cats. 33-36) utilizes different colors and papers toevoke seasonal changes in a repeated sub-ject, for example an effective drama ofwhite and gray inks printed on black paperin Apple Core—Winter (cat. 33). NoteOldenburg's ironic linking of seasonal sub-limity to the lowly apple core, Nature atits least enticing. Yet his sprightly draw-

36 | R I T C H I E

32Claes Oldenburg, ThrownInk Bottle with Fly andDropped Quill 1991


33Claes Oldenburg, AppleCore—Winter, 1990

34Claes Oldenburg, AppleCore—Spring, 1990

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35Claes Oldenburg, AppleCore—Summer, 1990

36Claes Oldenburg, AppleCore—Autumn, 1990

G E M I N I G . E . L . : R E C E N T P R I N T S AND S C U L P T U R E I 39

37Robert Rauschenberg,Illegal Tender LA.: BlueLine Swinger, 1991

ing style casts remarkable levity overthe subject.

Robert Rauschenberg has reinvestigatedthe lithograph on paper in many recentworks at Gemini, often improvising on hisown photographs as subject matter. Histriptych Illegal Tender L.A.: Blue LineSwinger (cat. 37) sequences three photo-graphs of a child on a swing taken in Ven-ice, California. The lateral movement inthese images is energized by an electricblue line that also counterpoints the threestatic but intensely hued still lifes below.The loosely brushed irregularities in theimages result from Rauschenberg's handapplication of photo emulsion to the litho-graphic plates before the photographs weretransferred. The artist himself suggestedthis very successful new approach to Gem-ini, in which the conventional streaklessapplication of photo emulsion is discardedto engage Rauschenberg's painterly hand.

This process was also employed in otherworks from the Illegal Tender L.A. seriessuch as Blues and Hollywood Sphinx (cats.38, 39), which highlight Rauschenberg'sphotographs of Los Angeles mixed with afew from a visit to Washington, D.C.

Rauschenberg also depended on his pho-tographs as source material for his ambi-tious traveling art project, RauschenbergOverseas Culture Interchange (ROCI).During 1988 he visited Uzbekistan, thenpart of the USSR, and became entrancedwith the extraordinary patterned silkswoven on small looms by the nomadicfamilies of Samarkand. Because theweavers do not make repeating patterns,there is often little consistency in thesecloths. Examples of these indigenous tex-tiles became the basis for the series ofseven editions of fabric collages entitledSamarkand Stitches, which were assem-bled at Gemini. In a spirit similar to the

40 R I T C H I E

38Robert Rauschenberg,Illegal Tender LA.: Blues,1992


39Robert Rauschenberg,Illegal Tender LA.:Hollywood Sphinx, 1991

textiles, each of the Samarkand pieces isunique in that the screenprinting of theartist's photographs of his journey variesthroughout the edition. The installation ofthe Samarkands is also variable—they canbe hung from the ceiling, placed flatagainst the wall, or stationed slightly outfrom it. Regardless of presentation, theecstatic color of examples such as Samar-kand Stitches #i (cat. 40) and SamarkandStitches #3 (cat. 41) acknowledges the

visual fireworks of the fabrics that soimpressed him. During Rauschenberg'sROCI/Tibet expedition he recorded manyimages from that remote, rugged country,including high mountains, Buddhistmonks, flowers, animals, muddy trucktires, architecture, and calligraphy fromlocal streets and temples. The artistutilized Gemini's technology to transformthese brilliantly colored images into theTibetan Keys and Locks series: montaged

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40Robert Rauschenberg,Samarkand Stitches #i,1988


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42Robert Rauschenberg,Tibetan Keys and Locks:Tibetan Keys (El), 1987

41Robert Rauschenberg,Samarkand Stitches #3,1988( O P P O S I T E )

G E M I N I G . E . L . I R E C E N T P R I N T S AND S C U L P T U R E | 45

44Jasper Johns, Untitled, 1992

decals that were then permanently lami-nated to freestanding sculptures in fabri-cated steel and to aluminum wall pieces.Freestanding examples, such as TibetanKeys (El) (cat. 42), an "L" shape, andTibetan Keys (Centers) (cat. 43, see page 6),an "X" shape, belong to the former cate-gory that invites installation in various ori-entations. These brightly colored imagescombine with the spare, powder-coated sur-faces of the sculptures to make enigmaticmonuments to very personal experience.

Jasper Johns also refers to a stockpile ofsubjects from which he constructs his

images. A number of his recent interestsare apparent in two Untitled (cats. 44, 45)lithographs created concurrently at Gem-ini, which share some of the same refer-ences. Arcane art sources are represented indrawings by twentieth-century artistBarnett Newman, a Queen Elizabeth IISilver Jubilee vase, and a general back-ground traced from a part of MatthiasGriinewald's sixteenth-century Isenheimaltarpiece.12 Other more generally recog-nized images such as the spiral galaxy arealso included. These are intermingled withtrompe 1'oeil effects such as curling cor-

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45Jasper Johns, Untitled, 1992

ners, tapes, and stretcher bars that implythat the viewer is looking at the reverse ofa painting. As is his wont, Johns engagedthese ready-made subjects in a game ofcombination and recombination to exploresome of the most elemental philosophicalquestions: What is real? What doesone see?

ReductionCertain artists have sought to reveal ele-mental forces and underlying geometries intheir art through reduction and have cre-ated powerful prints and edition sculpture

at Gemini during the past decade. Rigorousconstructs by Daniel Buren and BruceNauman are manifestations of conceptualissues and formal concerns that continue tobe associated with a reductive vision.These artists' chosen materials are prod-ucts of the man-made, industrial world.They also challenge the nature of theirinstallation spaces. Works by Richard Serraand James Turrell refer to projects andmaterials that exist as part of actual land-scape and invoke the temporal, astronomi-cal, and geological forces that are part oftheir installations. They are reductivist in

G E M I N I G . E . L . I R E C E N T P R I N T S AND S C U L P T U R E | 47

46Daniel Buren, SituatedLithographs: Five Out ofEleven, 1989

their attempts to incorporate vast themesin smaller works.

In his first projects with Gemini, theFrenchman Daniel Buren has created aseries of works collectively called SituatedLithographs. These unite vertical stripeswith architectural settings as a means ofundermining one's artistic preconceptions.One of the works, Five Out of Eleven (cat.46), consists of ten striped panels set in tworows, five above and five below. Contraryto convention, the wall is engaged as anintegral part of the print; the hangingheights of the panels are determinedaccording to the wall's dimensions. Thestriped panels, sliced on the diagonal,expose wall through the frames, a further

declaration of site as art. The title Five Outof Eleven refers to the five colors used inthis print that were selected from theeleven chosen for the entire variant edition.Each set of objects in the Situated Litho-graphs is a unique arrangement, meaningthat the configuration of any one piece isdifferent from that of any other withinthe group, thus negating the idea of uni-form edition and implying both complete-ness and incompleteness in the ownershipof a work.

While Buren reappraises the situationand arrangement of the work of art, BruceNauman attacks the viewer on a more vis-ceral level. Nauman's preoccupation withthe malaise of the human condition is pro-

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foundly reflected in (Untitled) (cat. 47), acast-iron edition sculpture featuring crossedbeams. Reaching precariously into theviewer's space, one beam is balanced atopthe other like a seesaw of oppressive weightteetering in one's path. Details such as thedifferent shapes of the endings of the twinbeams—a triangle at one end and a squareat the other—add to the sense of instabilityand unequal weight. (Untitled) is a darktrap, threatening to ensnare one in the nega-tion implied in its "X."

In his edition sculpture Roden Crater(cat. 48), James Turrell has mirrored hisimportant landscape project of the samename. Since 1979 Turrell has been slowlytransforming the crater of an extinct vol-cano near Flagstaff, Arizona, into a per-fectly hemispherical bowl. When complete,the observer located within will experiencethe celestial vault as a magnificent lumi-nous sphere. Other planned modificationsinclude interior chambers with tunnelsconstructed along sight lines of astronomi-

47Bruce Naurnan, (Untitled),1987


48James Turrell, RodenCrater, 1990

50Richard Serra, VideyAfangar Series: VideyAfangar #2, 1991


cal events. The handsome mahogany boxhousing the Gemini edition sculpture con-tains documentation of the project includ-ing a model of the site, photographs, andsample earth. The box also evokes some ofthe larger project's themes, particularly theurge to reexperience the world through a

construct that refers simultaneously withinand without itself.

Richard Serra's Reykjavik (cat. 49, seepage 70) is a recent work created withPaintstik, a dense oil-based medium. ManySerra editions at Gemini employed thisprocess during the 19808 and early 19908.

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Serra began by screenprinting a single layerof flat black ink onto a specially treatedpaper in the areas to be coated withPaintstik. A synthetic fabric screen sten-ciled with the image was laid over thepaper and layers of Paintstik were pushedthrough by hand. Note that the striationsand other rich surface textures seen inReykjavik result from both passing the vis-cous mate/ial through the screen and fromusing a textured roller over the surface ofthe print. For several years, vertical strokeswere most common, but later examples ofPaintstiks such as this one move toward a

multidirectional approach, resulting in asubstantially different surface quality.13

Recently, Serra's sculpture projectAfangar has been a prodigious source forhis Gemini editions. This topological workon the tiny island of Videy near Reykjavik,Iceland, comprises nine pairs of blackbasalt columns cut from local quarries andplaced in couples around the island'speriphery. The work invites a stone-to-st one, two-hour journey about the stark,treeless Icelandic landscape. Correspond-ingly, the title Afangar is translated as" stations, stops on the road, to stop and






56Richard Serra, AfangarIcelandic Series: HreppholarIII, 1991

look: forward and back, to take it all in."14

Begun in 1989 and completed in 1990, thesculpture project prompted Serra to fillmany notebooks with drawings. Also onlocation with the artist were small etchingplates, transfer paper, and drawing materi-als sent by Gemini. After considerableexperimentation, a group of four-by-six-inch copper plates was developed into theten etchings of the Videy Afangar Series(cats, so-55).15 The small size of theseetchings offers the intimacy of notebookdrawings.

The artist has said that both his printsand his drawings "were a way to recall,remember, and to condense my involve-ment"16 with the project. As such, theyrely on the sculpture as catalyst for otherwork rather than depict it. In fact, all of

Serra's graphic work related to the VideyIsland project, while inextricably linked tolandscape, firmly maintains an abstractintegrity divorced from depiction.17

Developing prints in the smaller scale ofthese etchings also prepared Serra for workon a group of larger etchings. Serra's printsfrom the Afangar Icelandic Series, repre-sented here by Hreppholar III (cat. 56),Hreppholar VI (cat. 57), and Vesturey I (cat.58), set up tensions between contrastingelements: the inky black forces against theopen spaces of the paper. These dualitiesalso evoke conceptual pairings germane toSerra's Videy Island sculpture project suchas island and sea, presence and absence, fig-ure and landscape, and texture and smooth-ness. The Hreppholar group, named for thelowland area where indigenous basalt was

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cut for the Videy Island project, compriseseight works. Three other prints belong tothe group called Vesturey, named after theportion of the island where Serra worked,in which strong vertical gestures subtlyecho the upward thrust of the blackcolumns implanted around Videy Island.The surface of the prints is actual relief inthick ink that has been compared to roughconcrete or troweled tar. The process,called intaglio construction, requires that aplate be deeply etched in order to createtexture and therefore retain a huge quantityof ink. A pound or more may be applied toeach print. Further, to fulfill the artist'sdesire to give the prints even more massand presence, paper heavier than the sup-port sheet was cut to the shape of theimage area. Edges of this sheet were care-

fully shaved for a smooth transition. Theentire assembly was finally run through thepress, printing and lamination taking placeat the same time.18

RefigurationArtists wishing to image perceived things,rather than reduce them to simplified con-structs lacking depictive qualities, havereacted against the purging forces of reduc-tivist vision in recent years. This has cul-minated in a renaissance of the figure andother recognizable subject matter. In addi-tion to the work of Elizabeth Murray andSusan Rothenberg, a comparable approachto expressionist gesture and fragmentationis evident in that of such diverse artistsas the husband-and-wife team of EdwardKienholz and Nancy Reddin Kienholz and

57Richard Serra, AfangarIcelandic Series: HreppholarVI, 1991


58Richard Serra, AfangarIcelandic Series: Vesturey I,1991

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59Edward Kienholz and NancyReddin Kienholz, BoundDuck—Black, 1991

Malcolm Morley. Appropriation, a borrow-ing of elements from other sources, hasbeen a primary creative methodology dur-ing the past decade. David Hockney's adap-tation of external stylistic vocabularies to

create totally new images represents thisphenomenon, while Jonathan Borofsky'srestless conceptual engagements in a widespectrum of medium and technique seemto express no one style as style.


60Malcolm Morley, OurTramp Steamer Hugging theHorizon off Coconut IslandII, 1987

A pun on "duck" and "duct" carrieswith it the darker conflict between natureand machine in Bound Duck—Black (cat.59). The Kienholzes transformed a varietyof materials—a World War I pilot's leatherhelmet, a fabricated sheet metal duct, and acast aluminum arm and duck—into amachine-age Neanderthal. Overtones ofthoughtless violence are further suggestedin the distress of the bound duck as well asthe shelflike division between the figure'shead and hand. The edition was con-structed from elements found and fabri-

cated in both Germany and the UnitedStates (where the artists split their time)and were assembled at Gemini G.E.L.

Malcolm Morley's lithograph OurTramp Steamer Hugging the Horizon offCoconut Island II (cat. 60) could well rep-resent the pole of expressionism oppositefrom the Kienholzes'. Morley's bright,exotic subject matter and color combinedwith explosive style actually blossomedout of photorealist experiments in the19605, when he drew attention for paint-ings derived from trivial printed sources

56 R I T C H I E

such as postcards of ocean liners and fig-ures on beaches that were realized withboth fidelity and subtle subversion. Sincethat time, the travelogue underpinning hasremained while the expressiveness onlyhinted at in the earlier pictures has ignited.Morley's lithographs at Gemini G.E.L. haverelied on the atelier's amazing prowess forsustaining energy and richness throughoutcomplex, multicolor printings. Rite ofPassage (cat. 61), a luminous spitbite andaquatint, gives the impression of a light-dappled watercolor. Its liquid quality beau-tifully mimics its original subject andsource, watercolors done in 1988 at a LongIsland sailboat race.19 Morley drew fromthese to create a highly finished tondowatercolor that served as model for theprint. Except for its reversal, this imagechanged relatively little in the transcrip-tion. The artist often borrows and com-bines his own watercolor travel images toopen up his compositions to unusual, dis-junctive relationships such as the overlap-ping triangular sails in this work.

David Hockney, an artist also interestedin exploring dynamic composition, hasused his recent Gemini prints as a forumto experiment with depiction versusabstraction, believing both to be part of thesame issue: to give illusionistic space to atwo-dimensional surface. For example, inWarm Start (cat. 62), the most congestedpatchwork of textural and coloristic effectsis read as "figures" that push and pull theeye actively through the composition.These stand on a horizon before a relativelyuniform and inactive dark gray "back-ground." Yet nothing is specific. Workssuch as this or Going Out (cat. 63) couldrepresent either interior or exterior space,

with figures that emerge quickly and dis-solve back into patterns like phantoms.Hockney's recent work has been describedas "abstract pictures with stories"20 or nar-rative abstraction, suggesting its inherentanimation and latent force. The artist's

61Malcolm Morley, Rite ofPassage, 1988


62David Hockney, WarmStart, 1993

63David Hockney, Going Out,1993

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tools are his rich palette of warm advanc-ing reds, browns, and yellows that playagainst cool receding blues, purples, andgreens. These are configured in a widearray of dots, grids, and stripes that aredrawn, scraped, poured, and puddled. Notein particular the various liquid effects inSlow Forest (cat. 64).

Over the years Hockney has absorbed awide range of influences as a springboardtoward new methods of spatial representa-tion. His variations in shape and texturaleffects have intimate connection withPicasso's cubist experiments. Oriental mas-ters whose perspectival devices are evokedin the receding diagonals of Ink in theRoom (cat. 65) have also been influential.Yet Hockney's new spaces rarely depend oncues of perspective, relying heavily on

dominant shapes instead. Note how twoisolated black shapes in Ink in the Roomimply a sense of scale, allowing the viewerto begin to compose, without resolving, therest of the ambiguous setting. This methodof composition has its roots in "Some VeryNew Paintings/' a recent group of workspainted primarily in a small room in hisCalifornia beach house from whichHockney looks directly out to the sea. Theplay of waves and the constantly shiftingtides are not unlike the restless motionthat flows through the four-sheet litho-graph Four Part Splinge (cat. 66, seefrontispiece). Also influential have beenHockney's experiences in designing operas,in particular his recent work on RichardStrauss7 Die Frau ohne Schatten (TheWoman without Shadow). The stagelike

64David Hockney, SlowForest, 1993


65David Hockney, Ink in theRoom, 1993

setting, changing terrain, and implied cos-tume/figure fragments are easily distin-guished in Four Part Splinge.

Few contemporary artists have been asfrank in pursuing the inward eye asJonathan Borofsky. His explorations ofdreams, childhood memories, private sym-bols, and personal statements are virtuallyunedited mindflow, conveying personalnarrative with deep-rooted intensity intimes when objectivity and coolness havebeen far more celebrated and accepted. The

meticulously drawn psychedelia of theetching Flower Head (cat. 67) could well beinterpreted as a metaphor for the intricacyof the mind and its thoughts and, in partic-ular, Borofsky's own mental energy. In fact,many of Borofsky's works are clearly exten-sions of the self-portrait tradition. Forexample, Turtle (cat. 68), a lithograph andscreenprint with applied gold leaf, is a self-portrait steeped in personal iconography.The strong concentric oval and hexagonshape surround and protect an image of a

60 R I T C H I E

67Jonathan Borofsky, FlowerHead, 1991


68Jonathan Borofsky, Turtle,1991

sailboat, a symbol of natural motion thatthe artist associates with his sailor father.21

The turtle itself, as well as the spiral shellfloating above the boat, embodies ideas ofmotion and stasis, freedom and security.Borofsky's preoccupation with the sym-bolic power of numbers is apparent in themystical numeral seven floating in thewaterscape. Many of Borofsky's images areephemeral, painted directly on gallery or

museum walls and effaced after the exhibi-tion is over. The Turtle's only previousexistence was on his studio wall. By adapt-ing such images to prints the artist givesthem permanence and makes them avail-able to a wide audience.

Borofsky often returns to the sameimages over and over again. He enjoysrevisiting an idea to gain insight into whyhe used it earlier and also to bring to the

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69Jonathan Borofsky,Hammering Man atNo. 3302552, 1990


subject the test of new materials, a perfectreason for collaborating with a print work-shop such as Gemini. For example, Borof-sky's Hammering Man at No. 3302552^(cat. 69) exists in many other versions.Particularly noteworthy are large outdoorsculptures such as the one seventy feethigh in Frankfurt, Germany. Borofskyunderstands the importance of presentingthe figure on a grand scale, and to obtain itin this paper version of Hammering Man,pulp was poured into a giant mold. Thearm movement, so vital to motorized ver-sions, is suggested by four arms of castwhite paper attached in sequential posi-tions. According to Borofsky, the Hammer-ing Man image represents "the worker inall of us that needs to work, that likes towork, the hammer passes up and passesright through the head through the planeof the head to the other hand doing itswork."23 Borofsky recycles materials aswell as images. His Man with a Briefcaseat No. 3274691 (cat. 70), the enigmaticemblem of modern civilization, was cre-ated with the same wooden template thatwas used at Gemini in 1982 to make theMan with a Briefcase in aluminum. Thedistinctive white version included here(each work in this edition of woodcut col-lages is unique) contrasts with many previ-ous manifestations as a dark silhouette.The Dancing Clown at No. 2964782 (cat.71) is another recurrent Borofsky image, anuncomfortable fusion of female and male.In this work one sees a ballerina, poised inmid-jete, wearing oversize gloves and aclown mask with deep five-o'-clockshadow. This figure combines unresolvableopposites: the classical performer and low-brow comedian. This unique screenprint

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70Jonathan Borofsky, Manwith a Briefcase at No.3274691, 1990

71Jonathan Borofsky, DancingClown at No. 2964782,1986


72Jonathan Borofsky, Art isfor the Spirit at No.3094233, 1988

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73JonathanBorofsky, HeartLight, 1991


version with hand-painted and collagedadditions is tethered to a mechanized ringthat shimmies in mid-air (an image thatfirst emerged in one of the artist'sdreams).24 In it one sees another symbolicself-portrait of the artist. As James Cunohas noted, "there is something of both theentertainer and the jokester in the image ofthe Dancing Clown, he is both caricatureand self-parody/725 This work may well bea meditation on the public's notion of theavant-garde artist as huckster, yet the spiritof humor, honesty, and self-deprecationunderlying Borofsky's work, while notalways comprehended by the general pub-lic, could well reassure us otherwise.

Indeed, it is the idea of making works ofart for others, the work of art as being "forthe spirit/' that thoroughly permeatesBorofsky's oeuvre. Art is for the Spirit atNo. 3094233 (cat. 72), a unique screenprint,is like many of the artist's banner or posterpieces, its text sharing an aspect of his spir-itual quest for wholeness. The naively ren-dered cosmic imagery conveys a sense ofBorofsky's childlike wonder and faith in artas a truly transcendental experience. In asimilar spirit, the visual pulse and sound ofthe artist's own heartbeat radiates a spiri-tual presence in Heart Light (cat. 73).Borofsky has emphasized its political con-tent, the positive notion that "we are allone living organism, pulsating and chargingforward with energy."26 Eight feet tall—anoversize human presence—with uprightgleaming metal surfaces and glowing/pumping red heart, the piece can be seen asa metaphor for the unflagging human spirit,transcending all boundaries, its glow andrhythm as a unifying force.

ConclusionGemini G.E.L. remains open to new tech-niques and materials and to the vision andguidance of collaborators both long-timeand new. Its experiments have increasedthe possibilities within printmaking,expanding upon the processes of intaglio,lithography, screenprint, and woodcut, bothalone and in combination with each other,as well as upon a myriad of techniquesrelated to unique works and edition sculp-ture. Gemini's mastery over such a broadspectrum of media sets a standard for thecontemporary print/edition sculpture work-shop. The atelier's versatility is alsoreflected in the broad range of contempo-rary styles in art represented in its publica-tions of prints and sculpture: abstraction,conceptualist investigation, expressionism,new figuration, surrealism, realism, andreductive vision have all found a homethere. After more than twenty-five years,Gemini G.E.L.'s name continues to be syn-onymous with the realization and dissemi-nation of contemporary art editions of thehighest quality.

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Notes1. Ruth E. Fine, Gemini G.E.L.: Art and Collabo-ration [exh. cat. National Gallery of Art] (Wash-ington, 1984). This catalogue is an indispensablegeneral guide to understanding many aspects of thehistory and operations of Gemini.

2. James Reid provided printing and processinginformation, used throughout this essay, in a letterdated 14 March 1994.

3. Steinberg withdrew one image from the series,Gogol III.

4. Jacqueline Brody, "Prints & PhotographsPublished," The Print Collector's Newsletter i(March-April 1985), 20.

5. Mark Rosenthal, Artists at Gemini G.E.L.:Celebrating the 2$th Year, with introduction byMichael Botwinick (New York, 1993), 54.

6. Much technical information used throughoutthis essay was provided by Sidney B. Felsen in hisletter dated n March 1994.

7. A few etchings were in process at Crown PointPress, San Francisco, at the time of Diebenkorn'sdeath.

8. Yves-Alain Bois et al, Ellsworth Kelly: The Yearsin France, 1948-1954 [exh. cat. National Gallery ofArt] (Washington, 1992), 40.

9. Connie W. Lembark, The Prints of Sam Francis:A Catalogue Raisonne 1960-1990, with introduc-tion by Ruth E. Fine (New York, 1992), 21.

10. Mary Lee Corlett, The Prints of RoyLichtenstein: A Catalogue Raisonne 1948-1993,introduction by Ruth E. Fine (forthcoming).

11. The Benday process was invented by BenjaminDay in 1879 and employs a transparent sheet ofdots that is imposed on an image during thephotographic reproduction process to mechanicallyapproximate tonal gradations.

12. Rosenthal 1993, 63.

13. Ron McPherson provided this technical infor-mation in a telephone conversation, 17 March1994.

14. "Richard Serra: An Interview by MarkRosenthal," in Richard Serra: Drawings andEtchings from Iceland [exh. cat. Matthew MarksGallery] (New York, 1992), unpaginated.

15. New York 1992.

16. New York 1992.

17. See Nancy Princenthal, "The "AfangarIcelandic Series": Serra's Recent Etchings," ThePrint Collector's Newsletter 5 (November-December 1991), 158, for an in-depth discussion ofSerra's Afangar-related prints.

18. Claudio Stickar, Richard Serra: AfangarIcelandic Series, 1988-1992 (Los Angeles, 1992),unpaginated.

19. Malcolm Morley: December 2, 1988-fanuary j,1989 [exh. cat. The Pace Gallery] (New York, 1988),unpaginated.

20. David Hockney, That's the Way I See It, ed.Nikos Stangos (San Francisco, 1993), 238.

21. Rosenthal 1993, 34.

22. Many of Borofsky's works are inscribed with anumber that is frequently included in the title, anextension of a written counting-to-infinity projectthat continues to this day. The artist's Geminipieces are often numbered consecutively, trackingthe artist's current count.

23. Joseph Jarrell, "The Disquieting Mind ofJonathan Borof sky," Sculpture 9 (September/October 1990), 52.

24. Richard Marshall and Mark Rosenthal,Jonathan Borofsky [exh. cat. Philadelphia Museumof Art with the Whitney Museum of American Art](Philadelphia, 1984), 46.

25. James Cuno, Subjects: Prints and Multiples byJonathan Borofsky 1982-1991, with an essay byRuth E. Fine [exh. cat. Hood Museum of Art,Dartmouth College] (Hanover, New Hampshire,1992), 67.26. Rosenthal 1993, 49.


Measurements for prints refer to sheetsize. They are in centimeters followed byinches in parentheses. Height precedeswidth (precedes depth for three-dimen-sional objects).

Unless otherwise specified, paper coloris white or natural fiber.

The reference to proofs following theedition size includes artist's proofs, can-cellation proofs, color trial proofs, Geminiimpressions, National Gallery of Artproofs, printer's proofs, producer's proofs,progressive proofs, prototypes, right toprint proofs, right to produce proofs,special proofs, trial proofs, working proofs,artist's copies, publisher's copies, andspecial copies.

Objects presently in the collection ofthe National Gallery of Art have an acces-sion number that is noted after the nameof the donor.

Gemini identification and catalogueraisonne numbers refer to documentationsheets mantained by Gemini G.E.L. foreach work of art.

IElizabeth MurrayAmerican, born 1940Thirty-Eight: Future, 1993lithograph and screenprint constructionwith hand-applied pastel on Colombehandmade paper, Meirat Velasquez paper,and 4-ply museum board73-3 x 57-2 x 5-7 (29 x 22-^ x 2/4)one of 38 unique worksGemini G.E.L.Gemini Identification no. £1^93-179Catalogue Raisonne no. 1581project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, MarkSchultz, Ourania Stamus, Claudio Stickar

2Elizabeth MurrayAmerican, born 1940

Thirty-Eight: Trying To, 1993lithograph and screenprint constructionwith hand-applied pastel on Colombehandmade paper, Meirat Velasquez paper,and 4-ply museum board74.3 x 58.4 x 5.7 (2954 x 23 x 2*4)one of 38 unique worksPromised Gift of Gemini G.E.L. and theArtistGemini Identification no. £1^93-179Catalogue Raisonne no. 1581project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, MarkSchultz, Ourania Stamus, Claudio Stickar

3Susan RothenbergAmerican, born 1945Boneman, 1986mezzotint on wood-veneer paper76.3 X 51.3 (30X20 3 / 6 )

edition: 42 plus 15 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist, inHonor of the soth Anniversary of theNational Gallery of Art, 1990.71.12Gemini Identification no. SR86-3I3ICatalogue Raisonne no. 1283project director: Ken Farleyproofing, processing, and editioning: Ken Farley,Anthony Zepeda

4Susan RothenbergAmerican, born 1945Breath-man, 1986drypoint, woodcut, and engraving on JohnRoller HMP pale gray paper52.7 X 51.8 (20KX 20^)edition: 37 plus 15 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1989.55.56Gemini Identification no. SR86-3I32Catalogue Raisonne no. 1284project director: Ken Farleyproofing, processing, and editioning: Ken Farley,Diana Kingsley, William Padien, Anthony Zepeda

49Richard Serra, Reykjavik,1991

71

Checklist

5Vija CelminsAmerican, born 1939Drypoint—Ocean Surface—2nd State,1985drypoint on Rives BFK paper60.9 x 48.2 (24 x 19)edition: 55 plus 19 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.74.12Gemini Identification no. ¥€84-3101Catalogue Raisonne no. 1225project director: Doris Simmelinkproofing, processing, and editioning: DorisSimmelink

6Vija CelminsAmerican, born 1939Concentric Bearings, D, 1984, published1985mezzotint, aquatint, drypoint, andphotogravure on Rives BFK paper45-7 x 57 (18 x 227/6)edition: 34 plus 15 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1989.55.10Gemini Identification no. VC83-3O98Catalogue Raisonne no. 1222project directors: Ken Farley, Doris Simmelinkproofing, processing, and editioning: Ken Farley,Doris Simmelink

7Saul SteinbergAmerican, born 1914Gogol I, 1984etching, aquatint, drypoint, engraving, andembossing on Rives BFK paper69.3 x 50.3 (27^ x 19^)edition: 51 plus 18 proofs

National Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1989.5577Gemini Identification no. ST83~3io8Catalogue Raisonne no. 1184project directors: Ken Farley, Doris Simmelinkproofing, processing, and editioning: Ken Farley

8Saul SteinbergAmerican, born 1914Gogol V, 1984etching, aquatint, engraving, andembossing on Rives BFK paper69.5 x 50.5 (27s/6 x 19%)edition: 50 plus 18 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1989.55.79Gemini Identification no. ST83-3IHCatalogue Raisonne no. 1186project directors: Ken Farley, Doris Simmelinkproofing, processing, and editioning: Ken Farley

9John BaldessariAmerican, born 1931A French Horn Player, a Square BlueMoon, and Other Subjects: Money (withSpace Between), 1994lithograph and screenprint on Arches 88papertwo panels, each sheet: 121.9 x 55.9 (48 x22)

edition: 45 plus 18 proofsPromised Gift of Gemini G.E.L. and theArtistGemini Identification no. JBApi-1265Catalogue Raisonne no. 1607project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, MarkSchultz, Claudio Stickar

72 I C H E C K L I S T

10John BaldessariAmerican, born 1931A French Horn Player, a Square BlueMoon, and Other Subjects: Accordionist(with Crowd), 1994lithograph and screenprint on Arches 88paper121.9 x 101.6 (48 x 40)edition: 45 plus 18 proofsPromised Gift of Gemini G.E.L. and theArtistGemini Identification no. JBA91-1270Catalogue Raisonne no. not yet assignedproject director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, ClaudioStickar

I IDan FlavinAmerican, born 1933(to Don Judd, colorist)2, 1986, published1987lithograph on Laurence Barker paper71.7 x 102.4 (29 x 4o/<)edition: 30 plus 15 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1990.27.4Gemini Identification no. DF86-1130Catalogue Raisonne no. 1316project director: James Reidproofing, processing, and editioning: SergeLozingot, James Reid

12Dan FlavinAmerican, born 1933(to Don Judd, colorist)3, 1986,published 1987lithograph on John Roller HMP Specialgreen paper72.5 X 102 (29% X 40/<)edition: 30 plus 18 proofs

National Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1990.27.5Gemini Identification no. DF86-1131Catalogue Raisonne no. 1317project director: James Reidproofing, processing, and editioning: Tom Kiernan,Serge Lozingot, James Reid

13Mark di SuveroAmerican, born 1933Santana Wind, 1990etching on Rives BFK paper49.5 X 5 5 . 9 (19/2x22)edition: 30 plus 15 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. MdS89-3i50Catalogue Raisonne no. 1497project directors: Ken Farley, James Reidproofing, processing, and editioning: Ken Farley,Kyle Militzer

14Kenneth PriceAmerican, born 1935Chet, 1991fired and glazed earthenware10.5 x 15.2 x 7.9 (4% x 6 x 3%)edition: 25 plus 12 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. KP91-2178Catalogue Raisonne no. 1539project directors: Octavio Molina, James Reidproofing, processing, and editioning: AlanBrubaker, Happy Price, James Reid, HenryTakemoto

C H E C K L I S T | 73

15Kenneth PriceAmerican, born 1935California Cup, 1991fired and glazed earthenware10.5 x 15.2 x 7.9 (4% x 6 x 3%)edition: 25 plus 12 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. KP9i-2iy6Catalogue Raisonne no. 1537project directors: Octavio Molina, James Reidproofing, processing, and editioning: AlanBrubaker, Happy Price, James Reid, HenryTakemoto

16Richard DiebenkornAmerican, 1922-1993Untitled #2, 1993lithograph on German Etching paper27.9 x 38.1 (n x 15)edition: 53 plus 17 proofsPromised Gift of Gemini G.E.L. and theArtist's EstateGemini Identification no. RiDi92-i33OCatalogue Raisonne no. 1592project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid

17Richard DiebenkornAmerican, 1922-1993Untitled #3, 1993lithograph on German Etching paper27.9 x 38.4 (n x 15^)edition: 68 plus 19 proofsPromised Gift of Gemini G.E.L. and theArtist's EstateGemini Identification no. RiDi92-i33iCatalogue Raisonne no. 1593project director: James Reidproofing, processing, and editioning: James Reid,Carmen Schilaci

18Richard DiebenkornAmerican, 1922-1993Untitled #4, 1992, published 1993lithograph on German Etching paper27.9 x 38.4 (n x 15^)edition: 42 plus 19 proofsPromised Gift of Gemini G.E.L. and theArtist's EstateGemini Identification no. RiDi92-i332Catalogue Raisonne no. 1579project director: James Reidproofing, processing, and editioning: CarmenSchilaci, Claudio Stickar

19Richard DiebenkornAmerican, 1922-1993Untitled #5, 1993lithograph on German Etching paper27.9 x 38.7 (n x 15%)edition: 68 plus 23 proofsPromised Gift of Gemini G.E.L. and theArtist's EstateGemini Identification no. RiDi92-i333Catalogue Raisonne no. 1594project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, ClaudioStickar

20Richard DiebenkornAmerican, 1922-1993Untitled #7, 1993lithograph on German Etching paper40.6 X 30.8 (l6 X I21/)

edition: 68 plus 23 proofsPromised Gift of Gemini G.E.L. and theArtist's EstateGemini Identification no. RiDi92-i334Catalogue Raisonne no. 1596project director: James Reidproofing, processing, and editioning: StanleyBaden, Carmen Schilaci

74 | C H E C K L I S T

21Ellsworth KellyAmerican, born 1923Purple /R edl Gray/Orange, 1988lithograph on Arches 88 paper131.4 x 567.7 ( 5 I K X 2 2 3 1 / )edition: 18 plus 21 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. EK87-1178Catalogue Raisonne no. 1389project director: James Reidproofing, processing, and editioning: DianaKingsley, Maggie Parr, James Reid, Andrew Rubin,Claudio Stickar

24Ellsworth KellyAmerican, born 1923Jack/Red, 1990lithograph on Arches 88 paper119.4x96.5 ( 4 7 x 3 8 )edition: 35 plus 21 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. EK88-H92Catalogue Raisonne no. 1432project director: James Reidproofing, processing, and editioning: Ken Farley,Mark Mahaffey, James Reid, Mark Schultz,Claudio Stickar

22Ellsworth KellyAmerican, born 1923Dark Gray Curve (State I), 1988lithograph on Arches Cover paper66 x 213.2 (26 x 84)edition: 25 plus 20 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.74.130Gemini Identification no. EK87-1175ACatalogue Raisonne no. 1357project director: James Reidproofing, processing, and editioning: RyuOkabayashi, Claudio Stickar

23Ellsworth KellyAmerican, born 1923Jack/Gray, 1990lithograph on Arches 88 paper119.4x96.5 ( 4 7 x 3 8 )edition: 35 plus 19 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. EK88-H9ICatalogue Raisonne no. 1431project director: James Reidproofing, processing, and editioning: Ken Farley,Mark Mahaffey, Kyle Militzer, James Reid,Carmen Schilaci, Claudio Stickar

25Sam FrancisAmerican, born 1923Untitled, 1986screenprint on Exeter paper213.2 x 152.4 (84 x 6ol/4)edition: 56 plus 38 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L, and the Artist,1991.74.40Gemini Identification no. SF86-5169Catalogue Raisonne no. 1298project director: Ron McPhersonproofing, processing, and editioning: Stephanie duTan, Ken Herrand, Ann Johnston, JamesMcGowan, Edan McPherson, Patience McPherson,Ron McPherson, Kieth Stevens, Hope Weiss, RushWhite


26Roy LichtensteinAmerican, born 1923Landscapes: View from the Window, 1985lithograph, woodcut, and screenprint onArches 88 paper202.1 x 85.2 (799/6 x 33 9/6)edition: 60 plus 23 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RL85-H2ICatalogue Raisonne no. 1257project directors: Alan Holoubek, Ron McPhersonproofing, processing, and editioning: MargotAndrew, Totti D'Angelo, Krystine Graziano, AlanHoloubek, James McGowan, Ron McPherson,James Reid, Tom Stubbs, Hope Weiss, AnthonyZepeda

27Roy LichtensteinAmerican, born 1923"Imperfect" Series:Imperfect 67" x 79 j/8", 1988woodcut, screenprint, and collage on 3-plySupra 100 paper170.1 x 202.9 (67 x 797/£)edition: 45 plus 26 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.74.152Gemini Identification no. RL87-H55Catalogue Raisonne no. 1363project director: James Reidproofing, processing, and editioning: DiedreAustin, Stanley Baden, Ken Farley, Ken Herrand,Robert Hollister, Serge Lozingot, Larry Mantello,James McGowan, Ron McPherson, RyuOkabayashi, William Padien, James Reid, MichelleRies, Andrew Rubin, Kieth Stevens, Hope Weiss

28Roy LichtensteinAmerican, born 1923Interior Series: Blue Floor, 1991lithograph, woodcut, and screenprint onPTI 4-ply museum board

147.2 x 212.3 5715^6 x

edition: 60 plus 28 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RL90-1227Catalogue Raisonne no. 1506project directors: Mark Mahaffey, James Reidproofing, processing, and editioning: StanleyBaden, Jim Baughman, Christy Becker, MichaelCascadden, Gary Chavez, Ken Farley, ScottGriffith, Heather Kurlander, Mark Mahaffey, KyleMilitzer, Carlos Moreno, Margaret Parr, JamesReid, Carmen Schilaci, Mark Schultz, PhilSilverman, Claudio Stickar

29Claes OldenburgAmerican, born 1929Sneaker Lace Sculpture, 1990cast stainless steel, hand painted bythe artist132.1 x 58.4 x 102.9 (52 x 23 x 40%)edition: 12 plus 3 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO9O-I7ICatalogue Raisonne no. 1458project director: James Reidproofing, processing, and editioning: Frank Grasso,Donald Lippincott, James Reid

30Claes OldenburgAmerican, born 1929Sneaker Lace in Landscape with PalmTrees, 1991lithograph on Arches Cover buff paper144.8 x 108 (57 x 421/)edition: 55 plus 20 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO89-i2o6Catalogue Raisonne no. 1494project director: James Reidproofing, processing, and editioning: Ken Farley,Mark Mahaffey, Carmen Schilaci, Mark Schultz,Phil Silverman, Claudio Stickar, Robin Taylor


31Claes OldenburgAmerican, born 1929Profiterole, 1990cast aluminum, hand painted by the artist14.6 x 23.2 x 21.9 (53/4 x 8 x &A)edition: 75 plus 39 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist, inHonor of the soth Anniversary of theNational Gallery of Art, 1990.104.17Gemini Identification no. CO88-2I52Catalogue Raisonne no. 1457project director: James Reidproofing, processing, and editioning: MichaelCascadden, Richard Garst, Steve Glassman, FrankGrasso, James Reid

32Claes OldenburgAmerican, born 1929Thrown Ink Bottle with Fly and DroppedQuillf 1991lithograph on Arches 88 paper114.3x88.9 ( 4 5 > < 3 5 )edition: 75 plus 40 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO9O-I230Catalogue Raisonne no. 1523project director: fames Reidproofing, processing, and editioning: StanleyBaden, Jim Baughman, Michael Cascadden, KenFarley, Mark Mahaffey, James Reid, CarmenSchilaci, Claudio Stickar

33Claes OldenburgAmerican, born 1929Apple Core—Winter, 1990lithograph on Arches Cover black paper101.6 x 76.2 (40 x 30)

edition: 59 plus 25 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO89-i2ioCatalogue Raisonne no. 1441project directors: Mark Mahaffey, James Reid,Claudio Stickarproofing, processing, and editioning: Ken Farley,Carmen Schilaci, Claudio Stickar

34Claes OldenburgAmerican, born 1929Apple Core—Spring, 1990lithograph on Laurence Barker green paper101.6 x 76.2 (40 x 30)edition: 57 plus 22 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO89-i2iiCatalogue Raisonne no. 1438project directors: Ken Farley, Mark Mahaffey,James Reidproofing, processing, and editioning: Ken Farley,Carmen Schilaci

35Claes OldenburgAmerican, born 1929Apple Core—Summer, 1990lithograph on Roller HMP paper101.6 x 76.2 (40 x 30)edition: 54 plus 18 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. CO89-I2O5Catalogue Raisonne no. 1439project directors: Ken Farley, Mark Mahaffey,James Reidproofing, processing, and editioning: JimBaughman, Ken Farley, Mark Mahaffey, PhilSilverman, Claudio Stickar


36Claes OldenburgAmerican, born 1929Apple Core—Autumn, 1990lithograph on Roller HMP paper101.6 x 76.2 (40 x 30)edition: 58 plus 20 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 0089-1209Catalogue Raisonne no. 1440project directors: Ken Farley, Mark Mahaffey,James Reidproofing, processing, and editioning: Ken Farley,Kyle Militzer, Claudio Stickar

37Robert RauschenbergAmerican, born 1925Illegal Tender L.A.: Blue Line Swinger,1991lithograph on Dieu Donne charcoal graypaperthree panels, each sheet: 74.9 x 57.1 (29^ x22'X)edition: 68 plus 33 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RR91-1282Catalogue Raisonne no. 1531project directors: Darryl Pottorf, James Reidproofing, processing, and editioning: StanleyBaden, Ken Farley, Mark Mahaffey, Kyle Militzer,James Reid, Carmen Schilaci, Mark Schultz,Claudio Stickar

38Robert RauschenbergAmerican, born 1925Illegal Tender L.A.: Blues, 1992lithograph on Roller HMP paper104.1 x 78.7 (41 x 31)edition: 57 plus 26 proofsPromised Gift of Gemini G.E.L. andthe Artist

Gemini Identification no. RR91-1280Catalogue Raisonne no. 1529project directors: Darryl Pottorf, James Reidproofing, processing, and editioning: StanleyBaden, Ken Farley, Mark Mahaffey, Kyle Militzer,James Reid, Carmen Schilaci, Mark Schultz,Claudio Stickar

39Robert RauschenbergAmerican, born 1925Illegal Tender L.A.: Hollywood Sphinx,1991lithograph on Roller HMP granite graypaper101.6 x 76.2 (40 x 30)edition: 58 plus 28 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RR91-1278Catalogue Raisonne no. 1527project directors: Darryl Pottorf, James Reidproofing, processing, and editioning: StanleyBaden, Ken Farley, Mark Mahaffey, Kyle Militzer,James Reid, Carmen Schilaci, Mark Schultz,Claudio Stickar

40Robert RauschenbergAmerican, born 1925Samarkand Stitches #i, 1988sewn fabric collage with screenprint193.1 x 167.6 (76 x 66)one of 59 unique worksNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.76.9Gemini Identification no. RR88-i63Catalogue Raisonne no. 1404project director: James Reidproofing, processing, and editioning: SarahDaubney, Ken Farley, Diana Kingsley, LarryMantello, John Peet, James Reid, DarleneScramuzza, Claudio Stickar, Robin Taylor, WillyBietak Productions


41Robert RauschenbergAmerican, born 1925Samarkand Stitches #3, 1988sewn fabric collage with screenprint157.5 x 104.1 (62 x 41)one of 62 unique worksNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.76.11Gemini Identification no. RR88-i62Catalogue Raisonne no. 1403project director: James Reidproofing, processing, and editioning: SarahDaubney, Ken Farley, Diana Kingsley, LarryMantello, John Peet, James Reid, DarleneScramuzza, Claudio Stickar, Robin Taylor, WillyBietak Productions

42Robert RauschenbergAmerican, born 1925Tibetan Keys and Locks: Tibetan Keys(El), 1987photo-screenprinted decals and hand paint-ing on powder-coated steel withpolyurethane sealer25.4 x 50.8 x 50.8 (10 x 20 x 20)edition: 25 plus 13 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RR86-2I34Catalogue Raisonne no. 1302project directors: Mari Andrews, Ron McPherson,James Reidproofing, processing, and editioning: MariAndrews, Tom Carrol, Mick Chapick, KenHerrand, Ann Johnston, Diana Kingsley, GaryKnowlton, James Linza, Victor Lozano, GaryMacheel, Larry Mantello, James McGowan, RonMcPherson, Blue McRight, Octavio Molina, JamesReid, Kieth Stevens, Dirk Walter, Hope Weiss,Therm-o-namel, Action Finishes

43Robert RauschenbergAmerican, born 1925Tibetan Keys and Locks: Tibetan Keys(Centers), 1987

photo-screenprinted decals and hand paint-ing on powder-coated steel withpolyurethane sealer25.4 x 76.2 x 76.2 (10 x 30 x 30)edition: 18 plus 10 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RR86-2I39Catalogue Raisonne no. 1307project directors: Mari Andrews, Ron McPherson,James Reidproofing, processing, and editioning: MariAndrews, Tom Carrol, Mick Chapick, KenHerrand, Ann Johnston, Diana Kingsley, GaryKnowlton, James Linza, Victor Lozano, GaryMacheel, Larry Mantello, James McGowan, RonMcPherson, Blue McRight, Octavio Molina, JamesReid, Kieth Stevens, Dirk Walter, Hope Weiss,Therm-o-namel, Action Finishes

44Jasper JohnsAmerican, born 1930Untitled, 1992lithograph on Twinrocker paper96.5 x78.7 ( 3 8 x 3 1 )edition: 72 plus 56 proofsPromised Gift of Gemini G.E.L.Gemini Identification no. 7792-1304Catalogue Raisonne no. 1571project directors: Bill Goldston, James Reidproofing, processing, and editioning: Bill Goldston,James Reid, Carmen Schilaci, Claudio Stickar,Douglas Voile

45Jasper JohnsAmerican, born 1930Untitled, 1992lithograph on Twinrocker paper96.5 X78.7 ( 3 8 x 3 1 )edition: 70 plus 21 proofsPromised Gift of Gemini G.E.L.Gemini Identification no. 7792-1305Catalogue Raisonne no. 1572project directors: Bill Goldston, James Reidproofing, processing, and editioning: StanleyBaden, Bill Goldston, James Reid, Douglas Voile


46Daniel BurenFrench, born 1938Situated Lithographs:Five Out of Eleven, 1989lithograph on Rives BFK paper247.6 x 529.6 (97% x 208%)5 5 unique configurationsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. DB88-n8oCatalogue Raisonne no. 1416project directors: James Reid, Claudio Stickarproofing, processing, and editioning: MaryKenneally, Mark Mahaffey, James Reid, PhilSilverman, Claudio Stickar

47Bruce NaumanAmerican, born 1941(Untitled), 1987cast iron beams with grit blast finish25.1 x 217.3 x 217.3 (97/s x &59/6 x 859/6)edition: 25 plus 12 proofsDr. and Mrs. Phillip T. GeorgeGemini Identification no. BN83-2I2-3Catalogue Raisonne no. 1324project directors: Stanley Grinstein, WilliamPadienproofing, processing, and editioning: Globe IronFoundry

48James TurrellAmerican, born 1943Roden Crater, 1990Philippine mahogany box with fiberglasstopographical model of Roden Crater, dirtfrom the site, statement book,and portfolio17.5 x 82.9 x 59 (67A x 32^ x 233/6 )edition: 9Promised Gift of Gemini G.E.L. andthe Artist

Gemini Identification no. JT86-2I29Catalogue Raisonne no. 1437project directors: Mari Andrews, ThomasBuechele, Robert Hollister, William Padienproofing, processing, and editioning: Craig Adcock,Mari Andrews, Jack Brogan, John Coy, AjaxDaniels, Sidney B. Felsen, Stanley Grinstein,Douglas M. Parker, Photo Impact, Dick Wiser

49Richard SerraAmerican, born 1939Reykjavik, 1991Paintstik on Fuji DHM-I4 handmadecoated paper170.2 x 194.3 (67 x 76%)edition: 46 plus 21 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O-5I95Catalogue Raisonne no. 1492project director: Ron McPhersonproofing, processing, and editioning: Julie Bach,John Fitzgerald, Ken Herrand, Joe Lewandowski,Edan McPherson, Ron McPherson, Quin Roberts

50Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #2, 1991etching on German Etching paper26.7 x 30.5 (iolA x 12)edition: 75 plus 35 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O-3I58Catalogue Raisonne no. 1511project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar


51Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #4, 1991etching on German Etching paper26.7 x 30.5 fio 'X x 12)edition: 75 plus 32 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O~3i6oCatalogue Raisonne no. 1513project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

52Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #6, 1991etching on German Etching paper26.7 x 30.5 fio1/ x 12)edition: 75 plus 29 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9o-3i62Catalogue Raisonne no. 1515project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

53Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #7, 1991etching on German Etching paper26.7 x 30.5 (loX x 12)edition: 75 plus 37 proofs

Promised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O-3i63Catalogue Raisonne no. 1516project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

54Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #8, 1991etching on German Etching paper32.4 X 36.2 ( l2% X 14'X)

edition: 75 plus 33 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9o-3i64Catalogue Raisonne no. 1517project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

55Richard SerraAmerican, born 1939Videy Afangar Series:Videy Afangar #10, 1991etching on German Etching paper26.7 x 30.5 (iolA x 12)edition: 75 plus 33 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9o-3i66Catalogue Raisonne no. 1519project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar


56Richard SerraAmerican, born 1939Afangar Icelandic Series:Hreppholar III, 1991intaglio construction on Fuji KozoDHM-I4 and Meirat Velasquez handmadepapers83.8 x 106.7 (33 x 42)edition: 38 plus 30 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9o-3iyoCatalogue Raisonne no. 1543project directors: James Reid, Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

57Richard SerraAmerican, born 1939Afangar Icelandic Series:Hreppholar VI, 1991intaglio construction on Fuji Kozo DHM-14 and Meirat Velasquez handmade papers88.9 x 109.2 (35 x 43)edition: 36 plus 20 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O~3i68Catalogue Raisonne no. 1541project directors: James Reid, Claudio Stickar,Carmen Schilaciproofing, processing, and editioning: JimBaughman, Michael Cascadden, Ken Farley, ScottGriffith, Mark Mahaffey, Karoline McKay, CarlosMoreno, James Reid, Carmen Schilaci, CecilSchmidt, Mark Schultz, Claudio Stickar

58Richard SerraAmerican, born 1939Afangar Icelandic Series: Vesturey I, 1991intaglio construction on Meirat Velasquez

handmade and Fabriano Murillo papers182.9 x 9X4 (72. x 36)edition: 35 plus 19 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. RS9O-3I73Catalogue Raisonne no. 1546project directors: James Reid, Carmen Schilaci,Claudio Stickarproofing, processing, and editioning: JimBaughman, Michael Cascadden, Scott Griffith,Mark Mahaffey, Carlos Moreno, Carmen Schilaci,Cecil Schmidt, Mark Schultz, Claudio Stickar

59Edward Kienholz andNancy Reddin KienholzAmerican, born 1927 and 1943 respectivelyBound Duck—Black, 1991wall sculpture with screenprinting, acrylic,cast aluminum object, galvanized steel airduct, leather helmet, formica, and resinhand applied by the artists170.2 x 99.1 x 25.4 (67 x 39 x 10)edition: 25 plus 17 proofsNational Gallery of Art, Washington,Anonymous Gift, 1993.77.1Gemini Identification no. EdK89-2i53Catalogue Raisonne no. 1486project directors: Noah Kienholz, James Reid,Claudio Stickarproofing, processing, and editioning: StanleyBaden, Mardee Carter, Frank Grasso, MaryKenneally, Edward Kienholz, Nancy ReddinKienholz, Noah Kienholz, Mark Mahaffey, KyleMilitzer, Carlos Moreno, James Reid, PhilSilverman, Claudio Stickar

82 C H E C K L I S T

60Malcolm MorleyBritish, born 1931Our Tramp Steamer Hugging the Horizonoff Coconut Island II, 1987lithograph on Arches 88 paper85.1 x 137.2 ( 3 3 ^ X 5 4 )edition: 39 plus 24 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.74.159Gemini Identification no. MM87-n63Catalogue Raisonne no. 1339project director: James Reidproofing, processing, and editioning: DiedreAustin, James Reid, Michelle Ries, Gordon Smith,Claudio Stickar

61Malcolm MorleyBritish, born 1931Rite of Passage, 1988spitbite etching, aquatint, and drypoint onJohn Roller HMP cream paper117.2 x 83.5 (46^ x 32^)edition: 52 plus 17 proofsNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist, inHonor of the soth Anniversary of theNational Gallery of Art, 1990.71.10Gemini Identification no. MM88-3I48Catalogue Raisonne no. 1393project director: Ken Farleyproofing, processing, and editioning: Ken Farley,Diana Kingsley

62David HockneyBritish, born 1937Warm Start, 1993lithograph and screenprinton Arches 88 paper54.6 x 64.8 (21% x251/2)

edition: 68 plus 30 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 01193-1349Catalogue Raisonne no. 1601project director: James Reidproofing, processing, and editioning: StanleyBaden, James Reid, Carmen Schilaci, ClaudioStickar, Laurie Switzer, Stephanie Wagner

63David HockneyBritish, born 1937Going Out, 1993lithograph and screenprinton Arches 88 paper61.6 x 68.6 (24'/{x 27)edition: 68 plus 34 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. DH93-I35ICatalogue Raisonne no. 1605project director: James Reidproofing, processing, and editioning: JenniferAzzarone, Stanley Baden, James Hirahara, MarkSchultz, Claudio Stickar, Laurie Switzer, StephanieWagner

64David HockneyBritish, born 1937Slow Forest, 1993lithograph and screenprinton Arches 88 paper63.5 X83.8 (25 X 3 3 )edition: 68 plus 29 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. DH93-I364Catalogue Raisonne no. 1603project director: James Reidproofing, processing, and editioning: JenniferAzzarone, Stanley Baden, James Reid, CarmenSchilaci, Mark Schultz, Claudio Stickar


65David HockneyBritish, born 1937Ink in the Room, 1993lithograph and screenprinton Arches 88 paper64.8 X88.9 ( ^ 5 ^ X 3 5 )edition: 68 plus 29 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 01193-1362Catalogue Raisonne no. 1602project director: James Reidproofing, processing, and editioning: JenniferAzzarone, Stanley Baden, James Reid, CarmenSchilaci, Mark Schultz, Claudio Stickar, StephanieWagner

66David HockneyBritish, born 1937Four Part Splinge, 1993lithograph and screenprinton four sheets of Arches 88 paperoverall: 124.5 x 167.6 (49 x 66)edition: 48 plus 29 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no.DH93~i366Catalogue Raisonne no. 1606project director: James Reidproofing, processing, and editioning: JenniferAzzarone, Stanley Baden, James Hirahara, JamesReid, Carmen Schilaci, Mark Schultz, ClaudioStickar, Stephanie Wagner

67Jonathan BorofskyAmerican, born 1942Flower Head, 1991etching on Meirat Velasquez rough paper80 x 61 (31/4 x 24)

edition: 37 plus 27 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 7689-3156Catalogue Raisonne no. 1480project director: James Reidproofing, processing, and editioning: Ken Farley,Mark Mahaffey, Kyle Militzer, Carlos Moreno,Mark Schultz

68Jonathan BorofskyAmerican, born 1942Turtle, 1991lithograph and screenprint with gold leaf,varnish, and embossing on Rives BFKpaper149.9 x in.8 (59 x 44)edition: 35 plus 19 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 7690-1237Catalogue Raisonne no. 1478project director: James Reidproofing, processing, and editioning: StanleyBaden, Jim Baughman, Ken Farley, Mark Mahaffey,James Reid, Carmen Schilaci, Mark Schultz,Claudio Stickar

69Jonathan BorofskyAmerican, born 1942Hammering Man at No. 3302552,* 1990collage and screenprint with La Palomahandmade paper365.8 x 175.3 x 7-6 (144 x 69 x 3)one of 18 unique works and i prototypePromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 7690-2173Catalogue Raisonne no. 1465project director: Ron McPhersonproofing, processing, and editioning: Julie Bach,John Fitzgerald, Edan McPherson, Ron McPherson* Borofsky number changes with each unique workin its series.


70Jonathan BorofskyAmerican, born 1942Man with a Briefcase at No. 3274691,*1990woodcut collage with La Palomahandmade paper233.7 x 101.6 (92 x 40)one of 5 3 unique works and i prototypePromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 5690-170Catalogue Raisonne no. 1461project director: Ron McPhersonproofing, processing, and editioning: Julie Bach,Annoush Bargamian, Jimi Bentley, CindeeBessman, John Fitzgerald, Eric Carding, KenHerrand, Phil Jerrome, Joe Lewandowski, MaryMcGilvray, Edan McPherson, Ron McPherson,Quin Roberts, Brenda Wentzel* Borofsky number changes with each unique workin its series.

71Jonathan BorofskyAmerican, born 1942Dancing Clown at No. 2964782,* 1986screenprint with hand painting andcollaged foils on Exeter paper,- motor, cord,and painted acrylic ring235.4 x 164.4 (92^ x 64^)one of 36 unique worksNational Gallery of Art, Washington,Gift of Gemini G.E.L. and the Artist,1991.74.10Gemini Identification no. JB86-58Catalogue Raisonne no. 1261project director: Ron McPhersonproofing, processing, and editioning: RonMcPherson, Thomas Stubbs, Dirk Walters, HopeWeiss* Borofsky number changes with each unique workin its series.

72Jonathan BorofskyAmerican, born 1942Ait is foi the Spirit at No. 3094233,* 1988screenprint on P.T.I. Supra 100 paper170.2 x 138.4 (67 x 54%)one of 88 unique worksPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. JB88-i67Catalogue Raisonne no. 1398project director: Ron McPhersonproofing, processing, and editioning: StanleyBaden, Ken Herrand, Ron McPherson* Borofsky number changes with each unique workin its series.

73Jonathan BorofskyAmerican, born 1942Heart Light, 1991aluminum and resin sculpture withelectronic sound and light241.9 x 100.3 x 914 (95^ x 39^ x 36)edition: 18 plus 7 proofsPromised Gift of Gemini G.E.L. andthe ArtistGemini Identification no. 7690-2171Catalogue Raisonne no. 1479project directors: Tom Buechele, John Lilly,Octavio Molinaproofing, processing, and editioning: ThomasHomsher, John Lilly, Michael Zarembsky


(Story

Most of the prints and sculpture in thisexhibition are works of art produced ineditions: multiple original impressions ofthe same image or multiple original copiesof the same object. The prints are made bytransferring a layer of ink from a printingsurface, or matrix, onto paper or anothermaterial. Often, a printing press suppliesthe pressure necessary for the transfer.The various printmaking techniques aredefined by the type of matrix and the man-ner in which it carries the ink. Complexcolor prints may call for several matrices,and more than one technique may be usedfor a single print. The sculptures also aremade by a variety of techniques. Proofimpressions and proof copies are thosemade prior to the completion of a pub-lished edition.

Print Techniques andRelated Terms

INTAGLIO An umbrella term coveringetching and related techniques in whichthe printing ink that yields the image isheld by recessed lines or areas that areincised into the matrix. A copper plateusually serves as the matrix, althoughother metals and other materials such asplastics may be used.

Intaglio processes that use acid to incisethe matrix include:

Aquatint Areas of the metal plate aredusted with fine particles of a materialthat resists acid, such as powdered resin.Areas not covered by the resist are bittenaway by the acid bath to create a granularsurface that produces effects similar towatercolor washes.

Etching A term referring to several linearand tonal techniques. For line etchings, asharp tool is used to draw through an acid-resistant substance, or ground, that covers

the plate. The drawn lines expose areas ofthe metal that are then etched in an acidbath to produce the incised lines. Thelonger the plate is immersed in the acid,the deeper the lines will be and the darkerthey will print.

Intaglio construction A process by whichthe final print surface is a relief of thickink covering an added paper layer. Theprocess requires that an etching plate bebitten especially deeply. Paper that isheavier than the support sheet is cut to theshape of the printed areas and the paper'sedges are shaved to avoid an abrupt transi-tion. The entire assembly is finally runthrough the press, printed and laminatedin one pass.

Photogravure Any of several intaglio print-ing processes in which a matrix, usually acopper printing plate, is prepared by pho-tographing an image through a screen ontothe photosensitized surface that is devel-oped and then etched.

Spitbite A technique for achieving gradu-ated tonal effects by applying acid directlyto the plate with a brush most commonlycontaining water, but sometimes saliva,which is the origin of the term.

Intaglio processes that do not use acidinclude:

Drypoint A sharp needle drawn with pres-sure directly across the metal plate raises aburr on either side of the incised line; thisburr holds the printing ink and creates vel-vety effects.

Engraving A sharply pointed "V-shapedtool called a burin is used to scoop out agroove in the plate. The weight of the linecan be varied by adjusting the pressureplaced on the burin and manipulating itsangle.

87

Mezzotint The surface of the plate is firstgiven an overall rough texture that printsdark. The image is defined by smoothingparts of the surface with a scraper and/orburnisher to produce lighter tones. (Ascraper is a triangular knife used toremove parts of an intaglio image causingthe areas to print lighter than the sur-rounding roughened surface. A burnisher isa rounded tool used to smooth parts of theintaglio plate that is often used in concertwith and after a scraper.)

RELIEF An umbrella term covering theprocesses in which, after an image hasbeen cut or carved into a matrix or other-wise formed, the printing ink is applied toits top surface (the opposite from intagliowhere the ink is held in the recessedareas).

Woodcut The image is cut or carved into aslab of wood.

PLANOGRAPHY A printing method thatrelies on a flat surface as the matrix.

Lithography A chemical process in whichan image drawn with greasy materials isimbedded into a specially treated slab oflimestone or, more commonly today, aprepared metal lithographic plate. Beforeprinting, the stone or plate is dampened.The complex process is based on the prin-ciple that grease repels water.

STENCIL A term for those processes inwhich the image is cut from a thin mate-rial such as plastic or paper,- ink is thenpassed through the open areas using aroller, brush, or other tool.

Screenprint The image is applied oradhered to a screen, blocking out certainareas. Ink is then forced through the openareas using a scraper, roller, brush, or othertools. The process is sometimes calledsilkscreen, silk being the material tradi-tionally used for the screen.

Sculptural Techniques andRelated Terms

CAST A mold taken from an object bycovering its surface with a liquid or plasticsubstance that, when hardened, retainsform and detail of the original and canserve as a basis for reproduction.

CAST PAPER Paper made by dipping ashaped mold into a vat of pulp to create athree-dimensional sheet. Once the paperhas dried it is separated from the mold.

DECKLE The naturally irregular anduntrimmed edge of handmade paper; in flatsheet or molded form.

EMBOSSING An inkless process by whichthe printing paper is forced into thematrix, often with a press, to create three-dimensional effects.

FIRED In ceramics, the term describes claythat has been put into the kiln and heatedto the point where it becomes a hard solid.

GLAZED The term for a ceramic piecehaving been coated by a liquid preparationthat when fired will create a smooth,sometimes glossy finish.

88 G L O S S A R Y

For a comprehensive biliography related toGemini G.E.L. and the prints of the artistswho have worked there, see Ruth E. Fine,Gemini G.E.L.: Ait and Collaboration[exh. cat. National Gallery of Art](Washington, 1984). Following is a selec-tion of references covering printmakingduring the past ten years.

Ackley, Clifford S. jos into 8os:Printmaking Now. Exh. cat. Museum ofFine Arts. Boston, 1986.

Armstrong, Elizabeth. First Impressions:Early Prints by Forty-six ContemporaryArtists. Exh. cat. Walker Art Center.Minneapolis, 1989.

"First Impressions/7 The PrintCollector's Newsletter 20 (May-June1989), 40-46.

Castleman, Riva. Seven Master Print-makers: Innovations in the Eighties. Exh.cat. Museum of Modern Art. New York,1991.

Cohen, Ronny H. "Jumbo Prints: ArtistsWho Paint Big Want to Print Big/7

ARTnews 83 (October 1984), 80-87.

"Prints about Art/7 The PrintCollector's Newsletter 16 (November-December 1985), 157-159.

"Up & About: The Market forContemporary Prints/7 The PrintCollector's Newsletter 10 (March-April1989), 10-14.

The Combination Print: lySo's. Exh. cat.New Jersey Center for the Visual Arts.Summit, N.J., 1988.

Field, Richard S., and Ruth E. Fine. AGraphic Muse: Prints by ContemporaryAmerican Women. Exh. cat. MountHolyoke College Art Museum. SouthHadley, Mass., 1987.

Larson, Philip. "New Expressionism/7 ThePrint Collector's Newsletter 15(January-February 1985), 199-200.

Stretch, Bonnie Barrett. "Prints andPhotographs: A Rich Mix of Mediums."ARTnews 87 (February 1988), 56+.

Walker, Barry. Public and Private:American Prints Today. Exh. cat. BrooklynMuseum. Brooklyn, 1986.

Wye, Deborah. Committed to Print. Exh.cat. Museum of Modern Art. New York,1988.

General Technical References

Gascoigne, Bamber. How to IdentifyPrints. New York, 1986.

Gilmour, Pat. Artists in Print. London,1981.

Ross, John, Clare Romano, and Tim Ross.The Complete Printmaker. New York,1972.

Saff, Donald, and Deli Sacilotto.Printmaking. New York, 1978.

89

Bibliography

John BaldessariA French Horn Player, a Square BlueMoon, and Other Subjects: Accor-dionist (with Crowd), 1994, cat. 10,p. 10A French Horn Player, a Square BlueMoon, and Other Subjects: Money(with Space Between), 1994, cat. 9,p. 21

Jonathan BorofskyArt is for the Spirit at No. 3094233,1988, cat. 72, p. 66Dancing Clown at No. 2964782, 1986,cat. 71, p. 65Flower Head, 1991, cat. 67, p. 61Hammering Man at No. 3302552,1990, cat. 69, p. 63Heart Light, 1991, cat. 73, p. 67Man with a Briefcase at No. 3274691,1990, cat. 70, p. 64Turtle, 1991, cat. 68, p. 62

Daniel BurenSituated Lithographs: Five Out ofEleven, 1989, cat. 46, p. 48

Vija CelminsConcentric Bearings, D, 1984, pub-lished 1985, cat. 6, p. 19Drypoint—Ocean Surface—2ndState, 1985, cat. 5, p. 19

Richard DiebenkornUntitled #2, 1993, cat. 16, p. 25Untitled #3, 1993, cat. 17, p. 26Untitled #4, 1992, published 1993,cat. 18, p. 26Untitled #5, 1993, cat. 19, p. 27Untitled #7, 1993, cat. 20, p. 27

Mark di SuveroSantana Wind, 1990, cat. 13, p. 24

Dan Flavin(to Don Judd, colorist)2, 1986, pub-lished 1987, cat. n, p. 22

(to Don Judd, colorist)3f 1986, pub-lished 1987, cat. 12, p. 23

Sam FrancisUntitled, 1986, cat. 25, p. 31

David HockneyFour Part Splinge, 1993, cat. 66,frontispieceGoing Out, 1993, cat. 63, p. 58Ink in the Room, 1993, cat. 65, p. 60Slow Forest, 1993, cat. 64, p. 59Warm Start, 1993, cat. 62, p. 58

Jasper JohnsUntitled, 1992, cat. 44, p. 46Untitled, 1992, cat. 45, p. 47

Ellsworth KellyDark Gray Curve (State I), 1988,cat. 22, p. 28Jack/Gray, 1990, cat. 23, p. 30Jack/Red, 1990, cat. 24, p. 30Purple/Red/Gray/Orange, 1988,cat. 21, p. 28

Edward Kienholz and Nancy ReddinKienholz

Bound Duck—Black, 1991, cat. 59,P. 55

Roy Lichtenstein"Imperfect" Series: Imperfect 67" x797/8fr, 1988, cat. 27, p. 32Interior Series: Blue Floor, 1991,cat. 28, p. 33Landscapes: View from the Window,1985, cat. 26, p. 8

Malcolm MorleyOur Tramp Steamer Hugging theHorizon off Coconut Island II, 1987,cat. 60, p. 56Rite of Passage, 1988, cat. 61, p. 57

Elizabeth MurrayThirty-Eight: Future, 1993, cat. i,p. 16

90

Index by Artist

Thirty-Eight: Trying To, 1993, cat. 2,p. 14

Bruce Nauman(Untitled), 1987, cat. 47, p. 49

Claes OldenburgApple Core—Autumn, 1990, cat. 36,P- 39Apple Core—Spring, 1990, cat. 34,p. 38Apple Core—Summer, 1990, cat. 35,P. 39Apple Core—Winter, 1990, cat. 33,P. 38Profiterole, 1990, cat. 31, p. 36Sneaker Lace in Landscape withPalm Trees, 1991, cat. 30, p. 35Sneaker Lace Sculpture, 1990, cat. 29,P- 34Thrown Ink Bottle with Fly andDropped Quill, 1991, cat. 32, p. 37

Kenneth PriceCalifornia Cup, 1991, cat. 15, p. 25Chet, 1991, cat. 14, p. 25

Robert RauschenbergIllegal Tender L.A: Blue LineSwinger, 1991, cat. 37, p. 40Illegal Tender L.A.: Blues, 1992,cat. 38, p. 41Illegal Tender LA.: HollywoodSphinx, 1991, cat. 39, p. 42Samarkand Stitches #i, 1988, cat. 40,P- 43Samarkand Stitches #3, 1988, cat. 41,p. 44

Tibetan Keys and Locks: TibetanKeys (Centers), 1987, cat. 43, p. 6Tibetan Keys and Locks: TibetanKeys (El), 1987, cat. 42, p. 45

Susan RothenbergBoneman, 1986, cat. 3, p. 17Breath-man, 1986, cat. 4, p. 18

Richard SerraAfangar Icelandic Series: HreppholarIII, 1991, cat. 56, p. 52Afangar Icelandic Series: HreppholarVI, 1991, cat. 57, p. 53Afangar Icelandic Series: Vesturey I,1991, cat. 58, p. 54Reykjavik, 1991, cat. 49, p. 70Videy Afangar Series: Videy Afangar#2, 1991, cat. 50, p. 50Videy Afangar Series: Videy Afangar#4, 1991, cat. 51, p. 50Videy Afangar Series: Videy Afangar#6, 1991, cat. 52, p. 51Videy Afangar Series: Videy Afangar#7, 1991, cat. 53, p. 51Videy Afangar Series: Videy Afangar#8, 1991, cat. 54, p. 51Videy Afangar Series: Videy Afangar#10, 1991, cat. 55, p. 51

Saul SteinbergGogol I, 1984, cat. 7, p. 20Gogol V, 1984, cat. 8, p. 20

James TurrellRoden Crater, 1990, cat. 48, p. 50

I N D E X | 91

Documents

Gemini G.E.L.: Recent Prints and Sculpture