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

# 

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

# Echoes

Yes, No, Maybe: Echoes
Tom Marioni, *Drawing a Line as Far as I Can Reach*, 1984, and *Drawing a Line as Far as I Can Reach (second version)*,**1996: installation view; John Cage's *Changes and Disappearances*, 1979–1982, is visible in the gallery beyond

Yes, No, Maybe: Echoes
Anne Appleby, *Verona Suite*, 2003; Pia Fries, *Falc,*2007; Darren Almond, *Fullmoon@Kitandara: Mountains of the Moon* and *Fullmoon@Rwenzori: Mountains of the Moon*, both 2010: installation view; Mamma Andersson’s *Room Under the Influence* (working proof), 2008, is visible in the gallery beyond

Yes, No, Maybe: Echoes
Darren Almond, *Fullmoon@Kitandara: Mountains of the Moon* and *Fullmoon@Rwenzori: Mountains of the Moon*, both 2010; Susan Middleton, *Requiem*and *Day Octopus*, both 2008: installation view

Yes, No, Maybe: Echoes
Sol LeWitt, *Color Grids*, 1975; Robert Kushner, *Paulette and Karla* (right sheet of triptych), 1980; Joel Fisher, *First Etching*,**1980; Brad Brown, *Untitled,*1999: installation view

Yes, No, Maybe: Echoes
Sol LeWitt,*Color Grids*, 1975; Robert Kushner, *Paulette and Karla* (right sheet of triptych), 1980; Joel Fisher, *First Etching*, 1980: installation view

Artists develop creative approaches suited to their strengths, interests, and experiences. Intentionally or not, they may share techniques, materials, or ideas. The works in this gallery highlight this aspect of creativity. They call to mind Chuck Close’s self-imposed challenges, Richard Diebenkorn’s testing of possibilities, and John Cage’s reliance on chance. In a mode reminiscent of Close, Darren Almond and Susan Middleton took on color photogravure, finding fulfillment where Close did not. Diebenkorn’s penchant for pinning and pasting collage elements to test compositional variations is recalled in Anne Appleby’s and Pia Fries’ working proofs. And Cage’s chance-based methods resonate in the work of Brad Brown, Joel Fisher, and Tom Marioni.

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

Next: Anne Appleby

"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

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