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Home>Yes No Maybe Introduction>Yes No Maybe Maybe

# 

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

# MAYBE

Yes, No, Maybe: Maybe
Pat Steir, *Kweilin Dreaming 51*, 1989, and *Kweilin Dreaming 88*, 1998; Laura Owens,*Untitled (LO 425)*(working proof), 2010: installation view; visible in gallery beyond is Wayne Thiebaud's *River Edge*, 1997

Yes, No, Maybe: Maybe
Pat Steir, *Kweilin Dreaming 51*, 1989, and *Kweilin Dreaming 88*, 1998: installation view; visible in gallery beyond is Julie Mehretu's *Circulation*(working proof), 2005

Yes, No, Maybe: Maybe
Laura Owens,*Untitled (LO 425),*2010, installation view

Yes, No, Maybe: Maybe
Laura Owens, *Untitled (LO 425)*, 2010; Wayne Thiebaud, *Park Place* (working proof 9), 1995; *Park Place* (working proof 13), 1995; *Park Place, 1995; Black and White Park Place*, 1995; *Park Place Variation,*1995; Amy Sillman, *Ohad + Nomi*, 2006; *Memory 2, O + N*, 2006: installation view

Yes, No, Maybe: Maybe
Amy Sillman, *Ohad + Nomi*, 2006; *Memory 2, O + N*,**2006; *O & N* (study after memory drawing), 2006; *O & N*, 2007; *O / N* (working proof), 2007; *O & N*(working proof), 2007; *O & N*, 2007: installation view

Each stage in the creative process contains a series of choices — a work can develop in any number of ways. In effect, each working proof represents many possible beginnings or — maybe — a conclusion. This final gallery of the exhibition features artists who embraced the speculative and open-ended nature of the creative process. For them, testing the possibilities and permutations of reworking an image is as interesting as the image itself; the path of creative discovery trumps any preconceived ideas about the final destination. Being receptive to what may develop is essential. Maybe, these projects suggest, there is no such thing as an ultimate or right choice; instead, there are many potential resolutions.

Banner image: Detail, Pat Steir, *Kweilin Dreaming* 88, 1998, color woodcut with hand-painting and pen-and-ink drawing on silk mounted to paper, Crown Point Press, © Pat Steir

Next: Pat Steir

"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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