printed and published at Gemini G.E.L. 😘

Nonetheless, that history oftentimes emerges – intuitively, conceptually, and visually. Susan Dackerman

While Dorothea Rockburne makes the association explicit by titling a lithograph, Melencolia, after one of Dürer’s most celebrated engravings, other artists are less conscious of them, and perhaps indifferent to the history that underlies their work.

Dialogues Across Time presents a selection of prints old and new that allow us to see their historical connections and entanglements by exploring themes that have been fundamental to artistic expression for centuries.

Over the next few weeks we’ll be posting installation views and additional images that expand upon the five major themes in this show: Geometry and Proportion, The Sky Observed, Ornament, Nature Studies, and Artists Making Art.

Artists both document and produce history. They simultaneously exist in its stream while forging their own pathways. Printed images have always been a source of historical knowledge for artists, and printmaking, in turn, is a means of making their own histories visible to us now.

It is the first time our gallery has presented historic works alongside the publications of Gemini G.E.L., and it will showcase over 50 works that span centuries, highlighting the historical connections and engagements of the print medium.

We are thrilled to announce the opening of “Dialogues Across Time: From Dürer to the Artists of Gemini G.E.L.”, a special exhibition curated by the renowned print curator and scholar, Susan Dackerman.

In this photograph, the artist poses in front of a wall of early color trial proofs for the LA Magic Hour series (most of these prints shifted in color and composition as the project evolved over time). Photograph © 2021 Sidney B. Felsen

As references, Dean took many photographs of colorful west coast sunsets, which were then matched by master printer Jill Lerner through a complex technique of layering transparent and semi-opaque colors. Photograph © 2021 Suzanne Felsen

Dean began by working from several spray chalk drawings she created for LA Exuberance. The images were then inverted and rotated to find the desired compositions. The gradient in each print is created by using a 45lb blend roller. Photographs © 2015 Sidney B. Felsen

LA Magic Hour complements Dean’s previous lithographic project from 2016, LA Exuberance (also on view) which depicted white clouds contrasted with the bright cerulean blues of a typical Los Angeles sky.

Tacita Dean | LA Magic Hour A series of 15 hand-drawn lithographs Extended through May 21

additional installation views of the Red, Yellow, Blue, Black, and White versions of the artist's "Transcending Grids" 1-color softground etchings with linen chine collé 17 1/2 x 16 5/8" each Editions of 28

ON VIEW NOW Analia Saban: Line to Thread to Wire to Cable to Line Featuring two new series of aquatint etchings and unique editions. "Circuit Boards" and "Transcending Grids"

No other artist is more deserving and more equipped with the tools needed to help guide this vital American institution through the aesthetic, intellectual, and socio-political challenges of the 21st century. Congratulations, @JulieMehretu!

Bruce Nauman studying proofs of his lithograph "No" Photo © 1981 Sidney B. Felsen

When No means Yes. Thank you, California voters! Bruce Nauman No (1981) 2-color lithograph 30 x 43 inches Edition of 21

"Though the small prints are treats to see, Six Bardos, a massive suite of aquatints named for the Buddhist intervals between life and death, steal the show." JULIE MEHRETU: A DECADE OF PRINTMAKING AT GEMINI GEL @TheArtNewspaper LAST DAY: Saturday 9/18 https://t.co/xdHIZi2kWZ

During the pandemic, Tacita Dean completed 2 films, designed ballet sets and costumes, and with help, created 100 largely handmade editions for a project titled "Monet Hates Me." Read more from the interview with Julie Belcove for @RobbReport: https://t.co/INKmVjIpQJ