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

# 

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

# Tom Marioni

Tom Marioni, Drawing a Line as Far as I Can Reach, 1984, 1996 
*Drawing a Line as Far as I Can Reach*1984etching and aquatint in brown printed from three plateson three sheets of papereach plate: dimensions extend beyond the width of thepapersheets (overall): 75 1⁄2 × 30 (191.8 × 76.2)National Gallery of Art, Washington, Gift of Kathan Brown,1997

Tom Marioni, Drawing a Line as Far as I Can Reach, 1984, 1996 
*Drawing a Line as Far as I Can Reach (second version)*1996etching with plate corrosion in umber and black printedfrom three plateseach plate: 23 7⁄8 × 14 7⁄8 (60.6 × 37.8)sheet: 77 1⁄4 × 19 1⁄8 (196.2 × 48.6)National Gallery of Art, Washington, Gift of Kathan Brown,2001

Sitting in a chair, facing a wall on which three copperplates were hung vertically, Marioni repeatedly scratched the surface of each plate with an etching needle. Starting low, he would raise his arm until he could reach no higher. After the resulting print,*Drawing a Line as Far as I Can Reach*, was published in 1984, Marioni installed the plates in his Japanese-style bathhouse. Exposed to years of dampness and steam, they became corroded. In 1996, twelve years later, Marioni had them trimmed along their sides and issued another printed edition in umber and black; evidence of the corroded plate is visible in the mottled background.

Tom Marioni working at Crown Point Press, 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: Yes

"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)

Tom Marioni 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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