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Home>Yes No Maybe Introduction>Yes No Maybe No

# 

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

# No

Yes, No, Maybe: No
Julie Mehretu, *Circulation*, 2005; Wayne Thiebaud, *River Edge*, 1997; Jockum Nordström, *Back to the Land*, 2008: installation view

Yes, No, Maybe: No
Julie Mehretu, *Circulation*, 2005, installation view

Yes, No, Maybe: No
Jockum Nordström, *Back to the Land,*2008, installation view

Yes, No, Maybe: No
Jockum Nordström, selection of cutout figures and buildings; the artist used cutouts like these to compose *Back to the Land*, 2008

Yes, No, Maybe: No
Tomma Abts, *Untitled (diagonals)*, 2009, and Nathan Oliveira, *Torso 1*, 2004, installation view; Wayne Thiebaud's *Park Place,*1995, is visible in the gallery beyond

Yes, No, Maybe: No
Nathan Oliveira, *Torso I*, 2004; Chris Ofili, *Habio Green*, 2009: installation view

Yes, No, Maybe: No
Chris Ofili, *Habio Green*,**2009, installation view

Yes, No, Maybe: No
Julie Mehretu, *Circulation*,**2005, installation view; Fred Wilson's *Arise!*, 2004, is visible in the gallery beyond

The creative process is not always smooth and straightforward. Often, artists must correct, alter, and radically rethink their efforts to marry vision and reality, intention and execution. At stake is the artist’s ultimate decision: Is it good? Working proofs in such scenarios can represent crises or crossroads. Wrong choices can be made, but they can also be counteracted. This gallery highlights projects that involved negative responses to proofs — no. The sequences of impressions show intermediary rejections, reversals, edits, and deletions, as well as a radical change in perspective. The final prints in this gallery are all successes — approved, signed, and published — but they reached this state only after the artist had rejected or revised a prominent early component of the work.

Banner Image: Detail, Wayne Thiebaud, *River Edge* (working proof 26), 1997, color drypoint and spitbite aquatint, Crown Point Press, Art © Wayne Thiebaud / Licensed by VAGA, New York, NY

Next: Julie Mehretu

"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)

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

Press release

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