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Exhibition Introduction

Note to the Reader
Acknowledgments

Introduction
Keith
John
Leslie
Self-Portrait

Introduction
Touched Red
Green
Combination
High Green Version 1

Introduction
17 Drawings by Thoreau
Seven Day Diary (Not Knowing)
Changes and Disappearances
Where R=Ryoanji
Fire
The Missing Stone
75 Stones
Eninka
Stones
Where There is Where There

Introduction
Anne Appleby
Pia Fries
Darren Almond
Susan Middleton
Joel Fisher
Brad Brown
Tom Marioni

Introduction
Mamma Andersson
Sol LeWitt
Fred Wilson
Robert Bechtle
Kiki Smith

Introduction
Julie Mehretu
Wayne Thiebaud
Jockum Nordström
Tomma Abts
Nathan Oliveira
Chris Ofili

Introduction
Pat Steir
Laura Owens
Wayne Thiebaud
Amy Sillman

Echoes

Yes, No, Maybe: Echoes

Tom Marioni, Drawing a Line as Far as I Can Reach, 1984, and Drawing a Line as Far as I Can Reach (second version), 1996: installation view; John Cage's Changes and Disappearances, 1979–1982, is visible in the gallery beyond
Yes, No, Maybe: Echoes

Anne Appleby, Verona Suite, 2003; Pia Fries, Falc, 2007; Darren Almond, Fullmoon@Kitandara: Mountains of the Moon and Fullmoon@Rwenzori: Mountains of the Moon, both 2010: installation view; Mamma Andersson’s Room Under the Influence (working proof), 2008, is visible in the gallery beyond
Yes, No, Maybe: Echoes

Darren Almond, Fullmoon@Kitandara: Mountains of the Moon and Fullmoon@Rwenzori: Mountains of the Moon, both 2010; Susan Middleton, Requiem and Day Octopus, both 2008: installation view
Yes, No, Maybe: Echoes

Sol LeWitt, Color Grids, 1975; Robert Kushner, Paulette and Karla (right sheet of triptych), 1980; Joel Fisher, First Etching, 1980; Brad Brown, Untitled, 1999: installation view
Yes, No, Maybe: Echoes

Sol LeWitt, Color Grids, 1975; Robert Kushner, Paulette and Karla (right sheet of triptych), 1980; Joel Fisher, First Etching, 1980: installation view

Artists develop creative approaches suited to their strengths, interests, and experiences. Intentionally or not, they may share techniques, materials, or ideas. The works in this gallery highlight this aspect of creativity. They call to mind Chuck Close’s self-imposed challenges, Richard Diebenkorn’s testing of possibilities, and John Cage’s reliance on chance. In a mode reminiscent of Close, Darren Almond and Susan Middleton took on color photogravure, finding fulfillment where Close did not. Diebenkorn’s penchant for pinning and pasting collage elements to test compositional variations is recalled in Anne Appleby’s and Pia Fries’ working proofs. And Cage’s chance-based methods resonate in the work of Brad Brown, Joel Fisher, and Tom Marioni.

Banner image: Detail, Susan Middleton, Requiem, 2008, color photogravure, National Gallery of Art, Washington, Gift of Kathan Brown, Courtesy Susan Middleton

Next: Anne Appleby

"Yes, No, Maybe: The Art of Making
Decisions," lecture by exhibition curators Judith Brodie and Adam Greenhalgh (audio)

Julie Mehretu, artist, in conversation with curator Judith Brodie, Diamonstein-Spielvogel lecture (audio)

"An Insider's Perspective," lecture by Kathan Brown, founder of Crown Point Press (audio)

Exhibition tour by curators Judith Brodie and Adam Greenhalgh (audio)

Crown Point Press prints in the collection of the National Gallery of Art

Press release