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Home>Yes No Maybe Introduction>Yes No Maybe Echoes Introduction>Yes No Maybe Brown

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Exhibition Introduction

Note to the ReaderAcknowledgments

IntroductionKeithJohnLeslieSelf-Portrait

IntroductionTouched RedGreenCombinationHigh Green Version 1

Introduction17 Drawings by ThoreauSeven Day Diary (Not Knowing)Changes and DisappearancesWhere R=RyoanjiFireThe Missing Stone 75 StonesEninkaStonesWhere There is Where There

IntroductionAnne ApplebyPia FriesDarren AlmondSusan MiddletonJoel FisherBrad BrownTom Marioni

IntroductionMamma AnderssonSol LeWittFred WilsonRobert BechtleKiki Smith

IntroductionJulie MehretuWayne ThiebaudJockum NordströmTomma AbtsNathan OliveiraChris Ofili

IntroductionPat SteirLaura OwensWayne ThiebaudAmy Sillman

# Brad Brown

Brad Brown, Untitled, 1999
Working proof for *Untitled 1*and *Untitled 2*1999color spitbite aquatint, sugarlift aquatint, etching,softground etching, and drypointplate: 18 × 23 1⁄8 (45.7 × 58.7)sheet: 23 3⁄4 × 29 3⁄4 (60.3 × 75.6)Crown Point Press

Brad Brown, Untitled, 1999
*Untitled 1*1999color spitbite aquatint, sugarlift aquatint, etching,softground etching, and drypoint printed from forty plateseach plate: 4 1⁄2 × 5 3⁄4 (11.4 × 14.6)sheet: 15 1⁄2 × 29 1⁄4 (39.4 × 74.3)National Gallery of Art, Washington, Gift of Kathan Brown,2001

Brad Brown, Untitled, 1999
*Untitled 2* (impression 9)1999color spitbite aquatint, sugarlift aquatint, etching,softground etching, and drypoint printed from forty plateseach plate: 4 1⁄2 × 5 3⁄4 (11.4 × 14.6)sheet: 15 × 29 1⁄4 (38.1 × 74.3)Kathan Brown

Brad Brown began by rolling dice to select from a cache of doodles he had made from newspaper photographs. He etched these into six medium-sized copperplates. The working proof here is printed from two of those plates — one inked in black, one in sepia orange. Brown then cut each plate into sixteenths to yield ninety-six smaller plates. He rejected sixteen plates on visual grounds, then allocated forty to print *Untitled 1*and an equal number to print *Untitled 2*(five plates were required to print each rectangular image). Brown ceded control over each impression’s unique composition, authorizing the printers to select, order, and orient the plates every time they were printed.

Brad Brown working on *Untitled 1*and *Untitled 2*at Crown Point Press, 1999, photograph by Kathan Brown, Courtesy Crown Point Press

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

Next: Tom Marioni

"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)

Brad Brown in the collection of the National Gallery of Art

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

Press release

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