Gemini G.E.L.: A Catalogue Raisonné, 1966–2005
Gemini entered its fourth decade in the second half of the 1990s. During this period the workshop was energized by a core group of artists—some who worked there regularly over the years and others more intermittently. Gemini cultivated fresh challenges by adding several names to its roster, listed in the paragraph below. It also expanded its repertoire of materials, publishing, for example, its first multiple in granite, Bruce Nauman's Partial Truth (36.47). Over the past 10 years, Gemini has maintained its commitment to prints on paper while periodically introducing exceptional sculpture, such as Ken Price's fired and hand-painted clay form Curley (39.31).
Dorothea Rockburne revisited Gemini in 1999. In bravura impressions such as Singularity (42.9), Rockburne confronted the nearly impossible task of visualizing theoretical astrophysical models as well as the interactions of primeval subatomic particles. A pair of equally imaginative and virtuoso images of spider webs, Untitled (Web 4) (9.12) and Untitled (Web 3) (9.13), were produced in etching and aquatint by Vija Celmins, whose much-anticipated return to Gemini signaled a reinvigoration of their fine intaglio editions. At the other end of the spectrum in terms of scale and variety of investigations, Richard Serra has worked steadily at Gemini during the past decade, producing a staggering body of work, exemplified by such outstanding pieces as B. B. King (47.108) and Double Transversal (47.157).
The following artists are among those who commenced a relationship with Gemini between 1997 and 2005: Kevin Appel and Chris Burden both published individual prints in 2001 (65.1 and 58.1, respectively). Ross Bleckner completed a series of prints featuring his signature bird images (56.1–56.4). Cecily Brown printed three expressionist lithographs (57.1–57.3). Frank Gehry oversaw the fabrication of an edition sculpture based on one of his architectural models (59.1). Robert Gober created his first work for the atelier—a double-sided lithograph—in 1997 (60.1). Ann Hamilton made embossings, photoetchings, and sculpture at the atelier (61.1–61.27). Toba Khedoori produced a rich, geometric intaglio (62.1). Brice Marden investigated gesture and color in three separate, yet related, campaigns (63.1–63.17). Darryl Pottorf worked on his own and in collaboration with Robert Rauschenberg (64.1–64.10, 41.233–41.236, and 41.251–41.254).
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