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Brice MardenPrint of Brice Marden's studio (hand signed by Brice Marden), Nan Goldin photo1996
1996
About the Item
Brice Marden's Studio
Offset lithograph poster (hand signed by Brice Marden in 2015)
This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner.
A collectors item when hand signed!
Accompanied by Certificate of Guarantee issued by the present gallery
About Brice Marden:
Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation.
—Brice Marden
Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color.
Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966.
A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings (1973–74)—five permutations of the primary trio—which were united for the first time since their making at Gagosian, 980 Madison Avenue, New York, in 2013.
In the 1980s Marden began to incorporate organic, intersecting lines, creating rhythmic patterns over fields of color. Exploring these winding lines, he experimented with blank space, erasure, and references to the natural world. He sought to create a mystical experience through the creation of elusive abstract spaces. As his many themes and techniques have overlapped, Marden brought them together in cohesive, often multipart works, which he has described as his “summation paintings.” Among them is The Propitious Garden of Plane Image, Third Version (2000–06), held in the collection of the Museum of Modern Art in New York, where he had his first comprehensive retrospective in 2006.
In his later years Marden continued his exploration of the qualities of monochrome. This engagement with muted colors informed his calligraphic drawings and works on canvas, such as the Nevis Stele paintings (2007–15), inspired by Chinese stone carvings from the late eighth century. In 2017 he turned his gaze to the expansive possibilities of terre verte (green earth), an iron silicate clay pigment, which he first used in the Grove Group. These paintings incorporate many different brands of terre verte, each a variation on the indefinable hue. Marden thinned his slow-drying paint and applied it gradually to the canvas in many successive layers, leaving a visible residue of the painting process at the lower edge of each canvas.
Courtesy of Gagosian Gallery
About Nan Goldin:
The camera is as much a part of my everyday life as talking or eating or sex.
—Nan Goldin
Emerging from the artist’s own life and relationships, and including herself as a subject, Nan Goldin’s work has transformed the role of photography in contemporary art. Her photographs and moving-image works address essential themes of identity, love, sexuality, addiction, and mortality. Uniting art and activism, Goldin has confronted the HIV/AIDS epidemic since the 1980s and today brings international attention to the overdose crisis.
Born in Washington, DC, in 1953, Goldin grew up outside of Boston. She left home at age fourteen, and at sixteen enrolled in the Satya Community School in Lincoln, Massachusetts, where she acquired her first camera. Goldin’s early black-and-white photographs, which convey the beauty, vulnerability, and joy of her friends in Boston’s transgender community, were initially shown in her first solo exhibition in 1973 at Project, Inc., Cambridge, Massachusetts. Attending Boston’s School of the Museum of Fine Arts beginning in 1974, she would start working principally with Cibachrome prints and 35mm slides, taking photographs in saturated color.
Relocating to New York in 1978, Goldin began documenting members of her chosen family in a milieu of New Wave clubs, No Wave cinema, and post-Stonewall gay culture. Capturing moments of revelry and friendship, intimacy and loss, she titled this body of work The Ballad of Sexual Dependency after a song from The Threepenny Opera (1928) by Kurt Weill and Bertolt Brecht. Constantly evolving, it grew into a multimedia presentation of almost seven hundred slides accompanied by an eclectic soundtrack. Initially projected in nightclubs, it was included in The Times Square Show in 1980, the Whitney Biennial in 1985, and countless other museum exhibitions around the world. It was published by Aperture in 1986 as the first of Goldin’s many books and was recently reprinted for the twenty-first time.
Goldin unflinchingly documents the struggles and courage that defined her community’s response to the devastating AIDS epidemic. In 1989, she organized Witnesses: Against Our Vanishing at New York’s Artists Space, the first exhibition featuring the work of artists who were living with or had died from AIDS, or whose art responded to the disease, including David Armstrong, Peter Hujar, Greer Lankton, and David Wojnarowicz.
In recent years, Goldin has focused on natural light, the sky, and landscape in works that explore spirituality and mortality. Her portraits feature photographs of individuals and couples, children, and families taken over extended periods; other series picture empty rooms with palpable traces of human presence. Presented as projected images, large-scale grids of multiple prints, single prints, and books, Goldin’s photographs operate in narrative sequence with thematic relationships to one another.
I’ll Be Your Mirror, a mid-career retrospective of Goldin’s work, was organized by the Whitney Museum of American Art, New York, in 1996, and traveled throughout Europe. Collaborating with Edmund Coulthard, Goldin made the documentary film I’ll Be Your Mirror in 1996, offering an autobiographical exploration of her work and interviews with her close friends and subjects. The retrospective Le Feu Follet followed in 2001, opening at Centre Pompidou, Paris, and traveling extensively.
In 2010, the Musée du Louvre, Paris, commissioned Scopophilia, giving Goldin access to take pictures of its collection, which she paired with photographs from throughout her career to explore the fluidity of gender and constancy of desire. A major recent slideshow, Memory Lost (2019–21), scored by composer Mica Levi, with additional music by CJ Calderwood and Soundwalk Collective, relates a haunting and emotional narrative comprised of outtakes drawn from her archive of thousands of slides.
In 2017, Goldin founded P.A.I.N. (Prescription Addiction Intervention Now) in response to the overdose crisis. The group stages direct public actions to hold Big Pharma accountable and expose the complicity of institutions that accept such funding. These protests have led to the removal of the Sackler name from the British Museum, Solomon R. Guggenheim Museum, Musée du Louvre, Metropolitan Museum of Art, Serpentine Galleries, Tate, and other museums and universities. P.A.I.N. promotes life-saving treatments for people using drugs and advocates for a public policy of harm reduction.
This Will Not End Well, a retrospective focused on Goldin’s slideshows and video installations, was organized by the Moderna Museet, Stockholm, in 2022 and will travel to the Stedelijk Museum Amsterdam; Neue Nationalgalerie, Berlin; and Pirelli HangarBicocca, Milan, before coming to the United States. All the Beauty and the Bloodshed (2022), a film directed by Laura Poitras on which Goldin collaborated, interweaves narratives of the artist’s life, work, and activism. It was awarded the Golden Lion at the 79th Venice International Film Festival and Best Documentary at the 38th Independent Spirit Awards and won film critics association awards for best documentary in New York, London, Los Angeles, and Toronto. The film was nominated for Best Documentary Feature at the BAFTA Film Awards and the 95th Academy Awards.
Courtesy of Gagosian Gallery
- Creator:Brice Marden (1938, American)
- Creation Year:1996
- Dimensions:Height: 10.5 in (26.67 cm)Width: 17 in (43.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214019762
Brice Marden
Acclaimed American artist Brice Marden worked for decades in abstract mode, creating lush, monochromatic multiple-panel paintings and notebooks full of mesmerizing drawings that are imbued with the lyricism of calligraphy. He was deemed a master of minimalism.
“Ultimately, I’m using the painting as a sounding board for the spirit,” Marden once said. “You can be painting and go into a place where thought stops — where you can just be and it just comes out.”
Marden received his BFA from Boston University College of Fine Arts in 1961 and his MFA from Yale University’s School of Art in 1963. Afterward, the Bronxville, New York, native moved back to New York City. There, he was exposed to the work of Jasper Johns while he was working as a guard at the Jewish Museum and later Robert Rauschenberg’s art when he became Rauschenberg’s studio assistant.
Apart from these iconic artists and the Abstract Expressionist movement, Marden’s inspirations were numerous and broad-ranging: trips to the Hydra islands in Greece beginning in the early 1970s (he kept a home there), Baroque masters like Francisco Goya and Chinese stone carvings from the late eighth century. Each of these influences yielded a milestone in Marden’s career, whether he created a revered series of paintings or incorporated a new technique or approach in a practice that had been otherwise evolving for years.
Marden is also known for having experimented with the tools he used to paint his networks of colorful, rhythmic lines. Sometimes he replaced brushes with sticks, dipping their ends in ink and making art that references Chinese calligraphy. In his early days, Marden was also known to paint with kitchen spatulas. His dedication to gesture and line was at the heart of his practice.
Marden’s work can be found in the collections of the Tate Britain, the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., and other institutions.
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