| Terry
Winters began sketching botanical, molecular and architectural
structures during the early 1980s. These notebooks became
the foundation for a series of print suites, which he began
in 1985 and still pursues. First developed in his paintings,
Winters' subject matter of entelechy - realization of form-giving
cause not discoverable by scientific investigation combined
with his distinctive use of materials played a significant
part in revitalizing abstract imagery in the late 20th century.
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Terry Winters
Folio Title Page, 1985-86
Lithograph on Paper; 32 x 23"
Edition of 39
Published by Universal Limited
Art Edition
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Winters'
"overlapping concerns," as he states it, are to
integrate the more figurative drawings of his prints into
the syntax of his abstract painting and in this show we
directly witness the stages in this effort. The exhibit
begins with experiments in lithography and presents outstanding
forays into the subtleties of printmaking processes including
etching, aquatint woodcut and linoleum block printing. The
exhibition also includes Winters' unusual indigo-dyed ringers.
Winters
explained in 1986, "I have tried to use the media of
painting, drawing and printmaking equally without any kind
of h of importance." His 1992 retrospective at the
Whitney Museum of American Art gave equal wall space to
prints, paintings and drawings, It is clear that Winters
penchant for working in series, his love of mark making,
and his treatment of technical materials as alchemical fodder
make his work particularly well-suited for the complex art
of printmaking.
Albums,
Folios and Suites has assembled the expensive suites of
prints produced by this internationally acclaimed American
artist. In the visual arts, "suite" denotes a
grouping of works produced around a related theme, affording
an artist opportunity to expand upon a set of ideas or motifs
within a given medium.
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