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

# 

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

# Joel Fisher

Joel Fisher
Sol LeWitt, *Color Grids (43, Red Broken / Red Broken)*1975etching in redsheet: 20 × 20 (50.8 × 50.8)Kathan Brown© 2013 The LeWitt Estate / Artists Rights Society (ARS), New York

Joel Fisher
Sol LeWitt, Color Grids (18, Blue Straight / Blue Straight)1975etching in bluesheet: 20 × 20 (50.8 × 50.8)Kathan Brown© 2013 The LeWitt Estate / Artists Rights Society (ARS), New York

Joel Fisher
Robert Kushner, *Paulette and Karla* (right sheet of triptych)1980color sugarlift aquatint, spitbite aquatint, and drypointsheet: 23 3⁄4 × 35 5⁄8 (60.3 × 90.5)National Gallery of Art, Washington, Gift of Kathan Brown,1998Courtesy Robert Kushner

Joel Fisher
Joel Fisher, *First Etching*1980inked and wiped plate printed on two sheets of papermade from repulped prints by Sol LeWitt and RobertKushnerplate: 19 1⁄2 × 9 3⁄4 (49.5 × 24.8)sheets (joined): 27 × 54 (68.6 × 137.2)Kathan Brown

Salvaging discarded and defective proofs from Crown Point Press, Fisher repulped them at a local mill to make the paper for *First Etching*. By chance, he foraged LeWitt’s *Color Grids*and Kushner’s *Paulette and Karla*(see slideshow, above, for published impressions of both). Tiny flecks of these recycled proofs can be seen embedded in *First Etching*’s paper (see banner, above). The faint square at the work’s center is the imprint of an imageless, but lightly inked, printing plate. Fisher referred to *First Etching*as an invocation, suggesting an appeal for guidance. He found it in LeWitt’s and Kushner’s leftovers and waste.

Joel Fisher making paper for *First Etching*, 1980, 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: Brad Brown

"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)

Joel Fisher in the collection of the National Gallery of Art

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

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