Echoes

  • Yes, No, Maybe: Echoes /content/dam/ngaweb/features/exhibitions/yesnomaybe/Echoes/Install/Marioni.jpg

    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 /content/dam/ngaweb/features/exhibitions/yesnomaybe/Echoes/Install/ApplebyAlmond.jpg

    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 /content/dam/ngaweb/features/exhibitions/yesnomaybe/Echoes/Install/AlmondMiddletonWall.jpg

    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 /content/dam/ngaweb/features/exhibitions/yesnomaybe/Echoes/Install/FisherWall.jpg

    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 /content/dam/ngaweb/features/exhibitions/yesnomaybe/Echoes/Install/Fisher.jpg

    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, Pia Fries, Falc (working proof), 2007, photogravure in black, Crown Point Press, © 2013 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Next: Anne Appleby