THE PRINTS OF BRICE MARDEN

Author(s): Pat Gilmour

Source: The Print Collector's Newsletter, Vol. 23, No. 2 (May–June 1992), pp. 49-52
Published by: Art in Print Review
Stable URL: https://www.jstor.org/stable/24554462
Accessed: 16-04-2020 16:52 UTC

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The Print Collector's Newsletter

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THE PRINTS OF BRICE MARDEN by Pat Gilmour

Brice Marden's print retrospective at the Tate

Gallery is the second major exhibition of his
work in London, and while the artist was in
London for the opening, I recorded his obser
vations. The show, which will travel to Paris
and Baltimore, has been curated by the deputy
keeper of the Tate's Modern Collection,
Jeremy Lewison. Lewison has also written a
detailed catalogue raisonné of Marden's prints
—the second time the Tate has bestowed this
honor on an American artist.1
Although pigeonholes are probably best
reserved for pigeons, the claim has been
made, not least in PCN's own columns, that
Marden was at the heart of "classic Mini
malism."2 It is a label the artist did not him
self entirely disdain,3 although the extent to
which he has escaped the narrowness of the
classification may help explain his
undoubted appeal to Europeans.
Nicholas Serota, now director of the Tate,
hosted Marden's 1981 show at the Whitecha
pel Art Gallery in London and established in
its catalogue4 that the artist was carrying for
ward the long tradition of European paint
ing. Noting Marden was "conventionally"
regarded as a Minimalist, Serota argued, gr;ce Marden,
Brice Marden, Cold Cold Mountain
Mountain Series, Zen Series, Zen Study
Study 6, etching, 6,sugarlift,
aquatint, etching, and aquatint, sugarlift, and scraping (27
scraping (27-1/2x35
conversely, that the artist s obsessions were
1/41/4 in.), printed
in.), 1991, 1991, byprinted
Jenniferby Jennifer
Melby. CourtesyMelby.
Matthew Courtesy Matthew
Marks Gallery, New York.Marks Gallery, New York,
directed beyond the medium itself and that
he had described his own work as "highly
emotional" and "to be felt." Stephen Bann, den's works would particularly repay an German Expressionism. Boston
who elsewhere had suggested that Marden's exhibition that unhierarchically mixes are particularly rich in prints, and t
work invited the most intensive thought media, like the one recently afforded Fran- took full advantage of them, wh
"about the necessary failure of the 4 return to cesco Clemente by the Royal Academy in saw gallery shows of giant wo
zero' and the assumption of a weight of London. And Marden's wonderfully subtle Leonard Baskin. "They weren
memories in the work's presence,"5 show in Boston,8 where prints, paintings, away in print rooms—they were
expanded this thesis for the Whitechapel and drawings were hung alongside items the there in public. So prints were acce
publication. Suggesting that "fundamental artist had chosen from the museum's perma- perfectly legitimate form of expre
painting" was for "sublimely detached nent collection, was an incomparable intro- I've used them as a natural part of m
beings who had slipped their cultural and duction to his quietist aesthetic. ever since." \
historical moorings," Bann, too, placed The Tate exhibition focuses primarily on In fact, Ma
Marden squarely within the Western tradi- Marden's prints, amplified by some exqui- woodcuts in
tion and seized on his "remarkable and mov- site drawings, as well as a newly acquired they "aren
ing statement" that "the rectangle, the painting, Couplet III (1988-89), that relates logue begins w
plane, the structure, the picture are but to his most recent editions. This strategy nesque et
sounding boards for a spirit." proved something of a limitation, however, delicate print
Marden's painting has elicited a remark- as the space set aside by the Tate for works of coarsely bit
ably consistent vocabulary from his com- art on paper is not extensible. Exhibiting the nude, whil
mentators, who apply to it words like drawings—several of which had been seen scape, seen
"austerity" (yet richness of surface), "sub- before in London—meant more than a quar- the subject f
tlety," "resonance," "density," and "près- ter of Marden's prints had to be omitted, At Yale,
ence." Such is the integrity of his output, precluding a rare chance to trace his graphic Peterdi,
however, that adjectives habitually applied art in its entirety. One even regretted the Marden fe
to his paintings are equally appropriate for absence of the artist's little-known student ings, "all
his prints. One might guess, even if one did works, which so intriguingly presage future di's depart
not know it, that the course Marden followed production, but the truncation of a major comfortabl
as a graduate student at Yale was not domi- portfolio like Adriatics (1973) was tragic. Yale did eve
nated by painting, with occasional forays Only four of this set of seven prints were the biting
into the "lesser arts,"6 but was designated hung, destroying the suite's internal logic larly enjoy
"Painting, Printing, and Drawing," giving and diminishing its impact as an analogue much rather
"equal emphasis'" to all three media. This for meditation induced by gazing at the sea. —they pro
uncommon absence of specialization may Although etching has remained Marden's nice to know h
well account for a similar catholicity in art- true love, by 1969 he had worked in every one dcf with it
ists as diverse as Chuck Close, Nancy of the four main graphic techniques. Before At this
Graves, and Richard Serra, all Marden's Yale he attended Boston University, where interested in
Yale contemporaries. there is a strong academic tradition in figura- and the catalogue raisonné illustrates three
Indeed, the cohesive interrelation of Mar- tive painting that leaned, at the time, toward sugarlift aquatints based on broad abstract
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Untitled, 1961. Ten Days (c), 1972. Untitled Press Series #3, 1972.

gestures; two were taken through successive or collages into prints, while Marden, who of the reasons why I could never really iden
states. All were made at Yale in 1961, but did not know how to cut or adhere stencils tify with the medium." As he was now work
only the first is exhibited. It features a rapid himself, mixed colors and printed editions. ing as Rauschenberg's studio assistant,
calligraphic gesture of sugar aquatint, with Despite the fact that most of the work at Marden was invited to Captiva Island where
some of the interstices darkened in its second Chiron involved flat color deposits for hard- a press had been set up to offer artists an
state. Finally, it was partially subdued by edge artists like Robert Indiana, when Mar- opportunity for making prints away from
geometry and turned onto its shortest side, den made his own screenprints, he employed commercial pressures. Influenced by the
making what began as a "landscape" into a sérigraphie techniques standard before the vegetation, Marden made a series of six lith
"portrait." The third print in this vein, war. His first Chiron print, Four (1966), ographs "with a jungle feeling." Drawn on
inscribed to Chuck Close, is closed and dark, which takes its title from the number of stone, they involved free gestural marks laid
with a passage of experimental texture. The upright rectangles in the image, was printed down with authority over color flats. Even
print between these two—which to me in three shades of gray. The last application so, Marden didn't warm to lithography:
seemed the most interesting—had two- was a smooth coat of ink, laid over two earlier "The printers wipe the stones with my steri
thirds of its abstract gestures erased by scrap- workings applied to the screen by a grease- ous substances, and say they are going to
ing, a tendency for repeated reworking that crayon washout method. The crayoned 'bring the image up,' and sometimes it
characterized Marden's mature intaglio. fringe at the base of the panels was suggested comes up, and sometimes it doesn't!"
Several reductive quadripartite abstrac- by the drips of stucco and paint in an archi- It was in 1971, after receiving a commis
tions result from Marden's reaction against tectural refurbishment program that Mar- sion from Robert Feldman of Parasol Press,
the compositional excesses of Abstract den had seen on a trip to Paris. that Marden returned to etching, making a
Expressionism. They led to the etching Wat- In 1973, Marden went to work with the trio of prints with a New York printer.
sonville (1963)—"an idea for a painting I gifted Japanese screenprinter Hiroshi According to Lewison, however, the results
never made"—inspired by a journey to "the Kawanishi at Simca Print Artists in New "disappointed artist and publisher alike."'1
artichoke capital of the world." Marden York. Working with Kawanishi, Jasper One of the prints, a scraped grid, looks inter
remembers driving through a rolling land- Johns had led a reaction against the rela- esting in reproduction, but the third image,
scape near Monterey, with vines sprawling tively anonymous use of the medium. despite being editioned in 50 copies, was
on either side of the road, in a light that made Kawanishi encouraged artists to draw never released. Meantime, Feldman, having
him think of Rothko. In the print a dense directly on the screen with tusche. Marden, discovered Kathan Brown at Crown Point
"sky" of diagonal cross-hatching surmounts already inclined to work in this fashion, used Press, sent Marden to California to work
two sets of raggedly hooked lines moving long painterly strokes for two color images. with her. Lewison rightly credits Brown as
obliquely in from the edges of the plate A year later, at Styria Studio, he was inno- being responsible for the "extraordinary
toward a vertical central caesura that keeps vating again, this time by superimposing 11 quality" of Marden's subsequent intaglio,
the abstracted memory of the road from printings of graphite and wax—the latter Many commentators, dismissive of the
destroying the flatness of the picture plane. through a heated metallic screen.10 Hayter-inspired intaglio prints that domi
In the second half of the 1960s, after a job Marden has never really taken to lithogra- nated America after the war, have dated the
as a museum guard and a visit to Europe, phy, but when Chiron adopted the technique "revival" of etching to its espousal by the
Marden earned his living as a printer at the following a change of owner, he made a litho- New York avant-garde around 1969. In fact,
Chiron Press, then run as a screenprinting graph called Gulf(1969) as part of a portfolio Kathan Brown opened Crown Point Press in
shop by the artist Steve Poleskie. Around of young artists commissioned by Rosa Richmond, California, in 1962 and by 1969
that time, Poleskie wrote a short piece for Esman. In landscape format, the print is an had already published books by Richard
Artist's Proof, in which he relished the fact equivalent for the view from Robert Rausch- Diebenkorn and Wayne Thiebaud. Indeed,
that, under the impact of Pop, screenprint- enberg's house on the Gulf of Mexico. Once it was seeing work by Thiebaud she had
ing had become "the medium of now" and again, Marden intended to veil activity, but printed that made Feldman send a succes
the preserve of the artist rather than the spe- much of his underdrawing disappeared. sion of artists to her shop.12
cialized printmaker.9 Poleskie often acted as "When you make a lithograph," he com- Brown learned the traditional techniques
a chromiste, turning other artists' gouaches plains, "something is always lost. That's one of intaglio printmaking at the Central School
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Y

Adriatic s (c), 1973. 12 Views for Caroline Tatyana (e), 1977-79. Tu Fu, 1987.

of Arts and Crafts in London,13 getting the changed their orientation, the prints relate for themselves. I don't want them to say:
idea for an access workshop from the one run to the Grove Group paintings, in which he Oh! so this is a tall cross, is it?' "
by Birgit Skiold in Charlotte Street. The attempted to capture the color and light he Lewison's text—exhaustively researched
expertise she acquired in England, plus her had experienced in an olive grove in Corfu, and with reproductions taken from the origi
rejection of Hayter's dictum that "aquatint In 1976 Marden began Five Threes, a group nals themselves—deals not only with the
destroys line and drives out light," helped of horizontal plates divided vertically in prints but with Marden's life as a whole. It
bring a breath of fresh air to intaglio print- three. The prints recall the massive door deals frankly with "a mid-life crisis" that the
making in America and provided a printer ways 0f tombs that he had seen in Egypt, as artist suffered in the early '80s, when heavy
equal to Marden's demanding aesthetic. well as the posts and lintels of Greek temples, drinking and the regular use of narcotics
In an article she wrote in 1980, Brown but one is also aware of the insistent strokes caught up with him, and he had to decide
recalls that when Marden first saw her new 0f tbe etching needle and variegated densi either to change his life or risk losing his fam
premises in Oakland in 1972, he exclaimed ties of hatching. By now a frequent visitor to ily. In the event, a New York exhibition that
that he "knew it was a good place to work."14 tbe Mediterranean, Marden had been read introduced him to Japanese calligraphy late
The first portfolio he made with Brown, ing a number of books about Greek myths, in 1984 helped change both his life and his
assisted by Pat Branstead, was Ten Days. Some of the etchings, printed in a watery art. It acted as a stimulus for a visit to Thai
Brown remembers that the artist asked for a tbal0 blue, anticipate the paintings of 1977 land where he explored Chinese calligraphy
thick, dense field of color, which was that celebrate the lunar phases of the moon, —which he much preferred—and ideas from
extremely difficult to do: equating them with girl, woman, and crone, the Tao and Zen.
there just wasn't any way I could get it to work, When Marden went to Crown Point to put Since 1972 Marden had been drawing
to melt all the same—mostly it's in the melt. So the finishing touches to Five Threes in 1977, he with sticks from trees, particularly those
what we had to do was to put several layers on; a]s0 WOrked on a new suite dedicated to his from the ailanthus, "a kind of junk tree—
we would do one and then we would bite it as goddaughter, called 12 Views for Caroline you can pick its sticks up in the streets of New
much as we could and we'd print it, and then _ .ιηπ Ίη, τ · . ■ ι
, , , , τ> · c ο Ταίγαηα (1977-79). Inspired again by post
we d do another one on top. Bnce hnally , , , . , ι · e
York, dry them out, and then draw with
, , .. . , , and lintel architecture, the basic format is athem." The strategy may have been sug
ended up loving that. He d go in and do even « ,
more crosshatching, so as to build up very simple colonnade gested by pictures
on which of Matisse
the artist with a piece of
devel
dense black made from uneven textures. He oped variations, charcoal
contrasting positive/nega
attached to a length of bamboo.
Certainly the drawings he made in the East,
took advantage of our ineptitude and built it tive, light/dark, solid/void,
into something that he liked much better than The prints forreinforced
Caroline byhave an affinity
his new calligraphic interests,
a perfectly even one.ls with the great 16-panel painting strengthened Thira (Door)
his liking for the procedure.
Marden's prints at that time followed the of 1979-80. Because He found,
of its paradoxically,
three T-shapes, that by extending
his arm the
simple rectangular divisions of his paintings suggestive of crosses, with painting
such a delicate
is freinstrument, he
and were printed in black, sometimes mixed quently related to gotGolgotha.
closer to the work, which
Although Mar became more
with two other colors—for example, cobalt den was working sensitive, on a design for the
reflecting cathedral
slightest movement.
and turquoise. Marden doesn't like color windows at the time—a After making
projecthundreds
that never of drawings in Asia
etching as such, but welcomes the ambiguity came to fruition16—he insists that a religious
(Left to right) Brice Marden, Untitled, etching, sug
of a blue-green-black that reads as different interpretation gives much more significance
arlift, and aquatint (20x15-3/16 in.) 1961, printed
colors depending on the way the plate is to the forms than he by ever intended.
the artist "I am
at Yale. Ten Daysan(c), etching and
wiped. In the fifth print of the series, a silver abstract painter. aquatint
I don't(30x22-3/16
depict stories.
in.), 1972,Nor
printed at Crown
line was overprinted onto a black grid, with a do I insist that my Point Press. Untitled
paintings Press be
should Series
non#3, lithograph (26
3/16x19-3/16 in.), 1972, printed at Untitled Press.
most exquisite effect. referential—I come out of Abstract Expres Adriatics (c), etching and aquatint (32-1/2x22-3/16
Two years later, alongside the celebrated sionism, not Constructivism, and the1973, printed at Crown Point. 12 Views for
in.),
Adriatics, Marden completed the portfolio Abstract Expressionists were not averse Caroline
to Tatyana (e), etching and aquatint (24-3/
8x18-3/8 in.), 1977-79, published 1989, printed at
Five Plates (1973), in which the even greater external references. But I am for a much
Crowh Point. Tu Fu, etching and sugarlift aqua
density and physicality of the aquatint is more open interpretation, and for viewers
tintto(9x7-1/2 in.), 1987, printed by Jennifer Melby.
immediately apparent. Although he be left in some sort of doubt, to puzzle it out All photos courtesy Tate Gallery, London.
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and then in Hydra, he made "a conscious idea of paintings and drawings evolved in an Essays by Nicholas Serota, Stephen Bann, and
inspired state, with someone in the picture Roberta Smith.
decision to allow his paintings and drawings
to coalesce" and began painting with "on a pilgrimage towards an experience" — 'Stephen Bann, "Adriatics—à propos of Brice Mar
den," 20th Century Studies, 15/16, 1976, pp. 116-29.
brushes attached to long sticks, producing only he was depicting it in another way.
'This was the term used by John Piper, an artist
"webs, glyphs and motifs resembling crystal Responding to her question, he affirmed that
structures."" trustee of the Tate Gallery, when he recom
he certainly felt that art carried a spiritual
mended that the institution, hitherto devoted
It was during this transitional phase that
thread. "If you accept certain unknowns, it exclusively to painting and sculpture, should
Marden began work on the Etchings to Rex becomes easy to accept an idea of the spirit collect prints. Prints had been the preserve of the
roth. In 1986, at a point where he was dissatis
ual," he said. "But you can't go about mak Victoria & Albert and British Museums.
fied with continuing to paint flat rectangular
ing spiritual painting. Say you're drawing a 'From the transcript of a taped conversation
colored panels, Peter Blum commissioned
tree and you feel there's an energy there that between the artist and the writer, Tate Gallery,
him to work again with the etcher Jennifer is just not exactly what you're seeing, you try London, February 25, 1992. Except where oth
Melby, who had printed his Etching for to get some of that into the drawing, what erwise indicated, Marden quotes in this article
"Parkett " (1985). Marden had applied sug are taken from this transcript.
ever you call it.... It really takes you back to
"Trevor Fairbrother, Brice Marden: Boston,
arlift with sticks to his etching plates for the
yourself. That's really important. That's my
Museum of Fine Arts, Boston, 1991. Essays by
four Tiles in 1979, and Melby suggested the involvement with making art."20 Robert Creeley, Patti Smith, John Yau, and the
same technique would be an ideal way ofThe last series to be covered by the Tate exhi artist.
working from a sketchbook full of images the
bition is a suite of six prints in two states called 'Steve Poleskie, "On Silkscreen Printing," Art
artist had brought back from Greece. Hav Cold Mountain Series, Zen Studies (1990-91). ist's Proof , 7, 1967, 78.
ing settled on the size of the plate, Marden
Made at the same time as six related paintings, "Gene Baro, Thirty Years of American Printmaking
drew four etchings at a time, applying sugit is once again drawn with sticks dipped in Including the 20th National Print Exhibition, Brook
arlift with sticks, as well as cutting through a solution. Some are richly tangled with a lyn Museum, Brooklyn, 1976, cat. no. 186.
sugar
hard ground with a razor blade. The finest "Jeremy Lewison, Brice Marden: Prints 1961-1991,
dense contrapuntal skeining; others are sparely
lines came from the corner of the blade, Tate Gallery, London, 1992, p. 25.
teased with a skittering stick. All loosely mimic
"Brown's contribution up to 1975 is catalogued
which he pressed down to give a variablethe four couplets of five characters in the origi and fully detailed in Prints: Bochner, LeWitt, Man
thickness, while the stick, which left the
nal Tang Dynasty poems on which they are gold, Marden, Martin, Renouf Rockburne, Ryman,
heaviest mark, frequently skittered across
based, and despite their internal freedom, they Art Gallery of Ontario, Toronto, 1975-76.
the plate's surface. Lewison poetically
follow an implied grid, but with more curved, "In London Brown worked in the department run
describes the results as "broad slashing
less jagged, even diagonal forms—"represen by the artist Merlyn Evans. He had had access to
bands with filigree threads, stuttering lines
tations" as Marden put it, "of energies in the French tradition through collaboration with
with full-blooded puddles, flicks of the wrist Frélaut and Lacourière in Paris and was respon
space."
with carefully controlled drags, deeply bitIn his embrace of Eastern ideas, Marden sible for some remarkable sugar aquatinted
ten sugarlift with transparent washes of flat abstract prints in the late 1950s and very large
is one of a long line of Western artists who scale abstract mezzotints in 1961. Other teachers
biting. . . . The etchings also embody
have taken Oriental calligraphy as a starting in the department who influenced Brown were
Marden's method of extracting essences, by point, a stance sometimes derided by orien Tony Harrison and Jack Coutu.
drawing a tree in one place, then maybe talascholars. In his book on Japonism,21 for "Kathan Brown, "Wasting and Wasting Not:
rock or a shell somewhere else, and then example, Wichmann criticized Western art How (and Why) Artists Work at Crown Point
another tree, and later layering these differ
ists who have looked to the Orient, arguing Press," Art Journal, spring 1980.
ent energies within a single image. The suite "These and other remarks by Brown not other
that their creative activity is occasioned by
was named after the American poet who stimuli that are not spiritual, but motoric in
wise ascribed come from the transcript of a taped
conversation between her and the author in
translated the poems of the 8th-century Chiorigin and nature. He also notes that paint Minneapolis, September 22, 1984.
nese poet Tu Fu. However, the artist was also
ers of an abstract, calligraphic tendency have "'Etchingfor "Parkett" {1985) is related to drawings
reading Ezra Pound's Cathay at the time, and
tried to raise the level of their sensitivity by for the window designs for Basel Cathedral. The
he says the prints may have more to do with
means of drugs. It is interesting, therefore, print was published as part of the deluxe edition
Pound than with Kenneth Rexroth.
that Marden has moved in the opposite of Parkett No. 7, 1986.
Marden has always found drawing to be thedirection, replacing drugs, if not with the rit "Lewison, p. 47.
most natural way of working, whereas etching, ual framework of the Zen masters, then at "Ibid., p. 50.
which offers more physical resistance, has usu "Brice Marden: Recent Drawings and Etchings, with an Inter
least with his own form of spiritual intensity
ally occupied an intermediary place betweenand a desire to enter into an intuitive oneness view by Pal Steir, Matthew Marks, New York, 1991,
drawing and painting, where he worked out n.p.
with nature. To Steir, he reaffirmed his debt 20Ibid.
more painterly problems. But with the Rexroth
to Pollock, telling her that the Abstract Siegfried \\'ichni:mn, /afxjm:yne: TheJapanese Influence
etchings his way of working changed. "I uniExpressionist's "I am Nature" was one of
on Western Art Since 1858, London, 1981, p. 403.
fied the drawing ideas by doing the prints, and
the greatest 20th-century statements. For as
I worked on the prints as I was starting the Pat Gilmour, now writing full-time in London,
well as his Taoist aspirations, he sought to
paintings. So they worked simultaneously. I was founding curator of prints both at the Tate
emulate Pollock's ability to receive nature's
really use etching as a working method—I Gallery, London (1974-77) and at the Australian
energy directly, and to transmit it to other
don't go in to make an edition. The drawing National Gallery, Canberra (1982-89).
people through his art.
for the more recent calligraphic prints is done
flat on a table, whereas a painting is done on an 'The previous catalogue (checklist by Susanna Editors' Note: The exhibition Brice Marden Prints
easel with a brush. So prints allow for a freer Singer, essay by Jeremy Lewison) was Sol
1961-1991 can be seen at the Tate Gallery in Lon
movement."
LeWitt: Prints 1970-1986, Tate Gallery, London, don through June 21, at the Musée d'Art
Marden told the artist Pat Steir in an 1986. Despite looking after the archives of many Moderne in Paris July 6-October 4, and at the
interview of 1991 that he had shifted from British publishers, including the extraordinary Baltimore Museum of Art October 25-January 3.
monochromatics to calligraphic paintings gift of screenprints from Kelpra Studio, the gal The 174-page catalogue with copious illustrations
because "in the past. . .all I could get were lery has yet to publish a catalogue raisonné for a and text by Jeremy Lewison is available from Mat
British artist. thew Marks, Inc., 1018 Madison Avenue, New
chords. I wanted to be able to make some
!Ronny Cohen, "Minimal Prints," Print CollecYork, New York 10021, for $28.50 paper plus $3
thing more like fugues, more complicated,
tor's Newsletter, 21, May-June 1990, pp. 42-46. postage and $52.50 cloth plus $4.50 postage.
back-and-forth renderings of feelings."19"See
He interview with Robin White in View, Oak
There is also a deluxe edition of 75 copies accom
also told Steir that drawing was a way of land,
vis 1980, p. 23. panied by Han Shan Exit 1 (1992), an original inta
ual thinking and the closest he ever got'Brice
to Marden: Paintings, Drawings and Prints 1975glio print by Marden, which is $1,350 plus $4.50
80, Whitechapel Art Gallery, London, 1981.postage from Matthew Marks.
meditation. He found attractive the Chinese

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