Wendy Mark: Beginning with Square One

WENDY MARK

J I L L N EWH O U S E

Wendy Mark

Beginning with Square One

Jill Newhouse Gallery 4 East 81 st Street New York, NY Tel ( 212 ) 249-9216 email: maildrop@jillnewhouse.com

This catalogue accompanies the exhibition Beginning with Square One: New Work by Wendy Mark including a site-specific collaboration with AGENCY architecture from October 1 to November 15, 2014 Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: maildrop@jillnewhouse.com www.jillnewhouse.com

cover detail: Green Cloud 1 , 2014 Monotype, 6 5 ⁄ 8 back cover detail: Blue Cloud 22 , 2014 Monotype, 6 5 ⁄ 8

× 7 inches

× 7 inches

Twenty-percent of sales during this exhibition will go to benefit Studio in a School . Founded in 1977 by Agnes Gund, Studio in a School brings high-quality comprehensive art classes and collaborative support to public schools that otherwise would not have an arts education program. In conjunction with our exhibition, JCrew will host an event benefitting the school.

BEG INNING WI TH SQUARE ONE Notes by the artist on the exhibition

Roland Barthes, The Responsibility of Forms, “As always, Life, (art, gesture, work) must without despair testify to an ineluctable disappearance”

“The essence of an object has some relation with its destruction”

from Berlin “Metro” “I was on a Paris Train

I emerged in London Rain”

1) One idea is to use scale to re-interpret The Renaissance Landscape. You have to Zoom IN through a small window frame/turn on a screen. 2) But the images of atmospheric changes, dots and cloud-like forms refer forward to computer generated abstractions. The colors are heightened. The thunder-struck clouds, cartoons of clouds or snapshots of a cloud / and Sigmar Polke dots with shadows. 3) The idea of Zones of ideas and accumulation is there in the cloud. 4) Robbes-Grillet’s “dreamy speculations” where, from his novel Repetition, repetition calls into question the original authenticity or seriousness of the first view or image. Or Soren Kierkegaard from his essay on repetition: “Repetition and recollection are the same movement, only in opposite directions, for what is recollected has been, it is repeated backward, whereas repetition properly so-called is recollected forward.” 5) There are stations of meaning. A sentence whispered again and again, losing and gaining meaning along the way. A Telephone game.

Attenuated / Broken The Pontormo Landscape referred to but not pictured here, becomes a field where there are endless permutations. Are there endless permutations / alterations to this field? The field of meaning changes from “this happened only once” to “this was my initial desire” and there was this idea, the second idea in the very next second. And then, 5 hours later, scene 4: A sequence of coming back / Ashbery’s “starting out that day, so long ago” : A record of what Derrida calls “initial Desire” from Postcards “A destination without end”. Or again, Ashbery’s “We may perhaps remain here, cautious yet free / On the edge” Addition / contrast / accumulation calls into question the solemnity of the image or the sublime; making

the image ironic, funny, within a window of limitations. It is also Dramatic and, although fugitive, insistent,

6) 7)

magnified.

Fugue-like / weight and shadow

8) Paraphrase: The paraphrase of a cloud or shockwave = equaling 9) Or aspiring to a Paterian “moment to moment,” or First sight / first love.

Pater’s “dream of a world”: “A counted number of pulses only is given to us of a variegated, dramatic life. . . . how shall we pass most swiftly from point to point and be present always at the focus where the great- est number of vital forces unite in their purist energy” from The Renais- sance by Walter Pater.

10 ) Not copies but fragments which change outside of time : This was how it was ! No this was how it was. 11 ) Roland Barthes on Twombly’s blackboard paintings : “A sequence which never comes to an end” A set of gestures. These images would like to be the “vanishings and de- cays” of Henry Vaughan / I am looking at and reading

Baldesarri’s Thrown Ball Series Christian Boltanski’s 6 Septembers. Postcards. Sigmar Polke’s dots Jiri Kylian’s Choreography

John Zinnsers gestural paintings Robert Ryman’s all white blanks Ben Lerner’s “Leaving The Atocha Station” Tim Eidel “Terrain” Uta Barthes The Long Now All of Nabokov Francis Alys small scene architectural paintings from “A Story of Deception” John Ashbery The architecture of Reiser + Umemoto And of AGENCY.

MONOT Y P E S

It Was Always You Always You , 2014 1 1 ⁄ 8 × 5 1 ⁄ 2

inches

Red Cloud 1 , 2014 6 5 ⁄ 8 × 7 inches

Pink Cloud 18 , 2014 6 3 ⁄ 4 × 6 7 ⁄ 8

inches

Purple Cloud 11 , 2014 5 7 ⁄ 8 × 6 inches

Wild Mauve Cloud , 2014 7 × 6 5 ⁄ 8

inches

Green Cloud 1 , 2014 6 5 ⁄ 8 × 7 inches

Field 02B , 2014 3 7 ⁄ 8 × 4 inches

In a Second , 2014 1 1 ⁄ 4 × 6 1 ⁄ 8

inches

Cartoon Clouds 6 , 2012 3 3 ⁄ 8 × 3 3 ⁄ 8

inches

Cartoon Clouds 6 , 2014 3 3 ⁄ 8 × 3 3 ⁄ 8

inches

Purple Dots 22 , 2014 4 × 4 inches

Blue Dots 12 , 2014 4 × 3 7 ⁄ 8

inches

I Was on a Paris Train / I Got Off in London Rain , 2014 1 × 4 3 ⁄ 4

inches

Green Cloud 12 , 2014 6 5 ⁄ 8 × 7 inches

Yellow Cloud for A , 2014 5 7 ⁄ 8 × 6 inches

Yellow Cloud with Red Streak , 2014 5 7 ⁄ 8 × 6 inches

Field / + No One In Sight , 2014 4 × 4 inches

Grass (sepia) 4, 2014 1 3 ⁄ 4 × 1 7 ⁄ 8 Grass (2), 2014 1 7 ⁄ 8 × 1 7 ⁄ 8

inches

inches

Grass (3), 2014 1 7 ⁄ 8 × 1 3 ⁄ 4 Purple Field, 2014 1 7 ⁄ 8 × 1 7 ⁄ 8

inches

inches

A story of intense passion / Love and Sexual Desires, 2014 8 3 ⁄ 4 × 8 7 ⁄ 8

inches

Poppies, 2014 Gesso with ground pigment on mirrored paper, 9 1 ⁄ 4 × 9 1 ⁄ 4 inches

Red Cloud 9, 2008 6 × 6 inches

Red Cloud 19, 2007 6 7 ⁄ 8 × 6 3 ⁄ 4

inches

Red Cloud 10, 2010 6 × 6 inches

Red Cloud 28, 2010 6 × 6 inches

It Happened to Clark Gable, 2014 3 1 ⁄ 4 × 4 3 ⁄ 4

inches

Red Cloud 16, 2014 5 7 ⁄ 8 × 5 7 ⁄ 8

inches

Red Cloud 19, 2007 5 7 ⁄ 8 × 6 inches

Take One, 2014 3 7 ⁄ 8 × 3 7 ⁄ 8

inches

Field 02A, 2014 3 7 ⁄ 8 × 4 inches

Blue Cloud 22, 2014 6 5 ⁄ 8 × 7 inches

Blue Cloud 18, 2014 5 7 ⁄ 8 × 6 inches

Untitled 1, 2014 5 1 ⁄ 4 × 5 3 ⁄ 8

inches

Untitled 2, 2014 5 3 ⁄ 8 × 5 1 ⁄ 4

inches

2nd Thoughts, 2014 2 × 3 inches

Wild Dots, 2014 1 7 ⁄ 8 × 1 7 ⁄ 8

inches

Gray Rain Dots, 2012 1 1 ⁄ 4 × 1 3 ⁄ 8

inches

Graph for Cloud Space, 2014 1 7 ⁄ 8 × 1 7 ⁄ 8

inches

“Cloud Space” Cloud, 2014 1 1 ⁄ 4 × 1 3 ⁄ 8

inches

AGENCY on the work of Wendy Mark Cloudspace, 2014 cnc -milled fiberboard with inlaid mirrored stainless steel 134 × 79 × 1 inches

Times Up, 2014 1 1 ⁄ 2 × 2 3 ⁄ 4

inches

WENDY MARK i s a painter and printmaker primarily known for her monotypes. Her work is often based on collaborations: with poets and writers such as Adam Gopnik and Louis Menand and here with award winning architects AGENCY. She has produced limited edition books with the Pulitzer Prize winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John. In her most recent book While The Women Are Sleeping , she worked with reknowned Spanish writer, Javier Marias. Mark began as a writer and received her Masters of Fine Arts from Columbia University’s School of the Arts, writing division. She has had numerous solo exhibitions in New York at ACA Galleries, Forum Gallery, Lori Bookstein Fine Art and Jill Newhouse Gallery. Her monotypes were included in the historical exhibition at The Smithsonian Institution, Singular Impressions: The Monotype in America . Other museum shows include: The Lyman Allyn Museum, The Metropolitan Museum of Art, and The Hiroshima Museum of Contemporary Art. Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums and private collections.

Education Sarah Lawrence in Florence, Italy, 1970 Columbia University School of Arts, M.F.A., 1974 (In the Writing Division, Poetry) Brandeis University, Art History, B.A., 1979 National Academy of Design, School of Fine Arts, 1980 – 86

Solo Exhibitions 1989 Hell’s Kitchen Gallery, Provincetown, MA Forum Gallery, New York, NY 1990 University of Maine Museum of Art, Orono, ME Hell’s Kitchen Gallery, Provincetown, MA 1991 Forum Gallery, New York, NY Hell’s Kitchen Gallery, Provincetown, MA 1992 Louis Newman Gallery, Beverly Hills, CA Phillipe Staib Gallery, Kent, CT Forum Gallery, New York, NY 1995 The Arsenal Gallery, Parks and Recreation, New York, NY 1996 Monotypes , Glenn Horowitz Bookseller, East Hampton, NY 1997 The Steam Roller Project , The Kennedy Museum of Art, Ohio University, Athens, Ohio 1998 Wendy Mark: A New Shade of Blue, Lyman Allyn Museum, New London, CT

The Figure You and Clouds , ACA Galleries, New York, NY 1999 Audrey Pepper Gallery, Boston, MA 89 Clouds , ACA Galleries, New York, NY 2001 Six Landscapes, Four Pinballs, Two Roses and a Car , Lori Bookstein Fine Art, New York, NY 2004 Candy, Monotypes , with Limited Edition Book with Mark Strand, Lori Bookstein Fine Art, New York, NY 2005 Monotypes and Books by Wendy Mark in the Print Collection , The Metropolitan Museum of Art, New York, NY 2006 I Turn and the Tree Turns with Me , Monotypes , Dartmouth College, Hanover, NH 2007 Recent Monotypes , with Limited Edition Book, “I Might Make Out with You” with Paul Muldoon, Lori Bookstein Fine Art, New York, NY

2009 Thornwillow Press, While The Women Are Sleeping , a limited edition book. Story by Javier Marias, monotypes by Wendy Mark 2011 The Invention of Blue , The James Gallery at The Graduate Center, New York, NY 2012 Drive: New Oils and Watercolors and Monotypes , Jill Newhouse Gallery, New York, NY

Jill Newhouse Gallery Digital Editions on v i ew at www. j i llnewhouse . com

Théodore Géricault: Drawings, Watercolors and Small Oils

Drive Wendy Mark: New Work

Dorothea Rockburne: Reinventing the Elements

Auguste Rodin: Intimate Works Sculpture, Drawings and Watercolors Photographs and Letters

Dorothea Rockburne: Indication Drawings

On Paper: Painted, Printed, Drawn Curated by Karen Wilkin

Gerard Mossé: Paintings on Paper

Bonnard, Roussel, Vuillard

Lino Mannocci: Recent Monotypes and Postcards

Drawings from the Collection of Curtis O. Baer

Unknown Corot: Unpublished Drawings

Wolf Kahn: Early Drawings

Edouard Vuillard: Portraits Reconsidered

Graham Nickson: Italian Skies Recent Watercolors and Early Oil Paintings

Josep Santilari • Pere Santilari Paintings and Drawings

gallery director: christa savino

photography by robert lorenzson design by lawrence sunden

copyright 2014 jill newhouse llc “beginning with square one” copyright 2014 wendy mark

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