"Indeterminate Conversations 1990-2006" offers a look at four bodies of Annette Lawrence's artworks and the transitional pieces between them. The works in the show present a rare gathering of early large scale pieces with bold patterning, systems of repetition, and multiple parts. Looking at these works now is akin to seeing them come of age. They are full of life and well suited for the disruptive moment people are currently experiencing.
The works in "Indeterminate Conversations 1990-2006" mirror the process of Lawrence's studio practice. The exhibition charts Lawrence's work beginning with the monumental work on paper, "Wallpaper," which Lawrence created for her MFA Thesis exhibition in 1990 and presents various bodies of works through 2006. While "Wallpaper" is a play on space and form through alternating views of shadows cast by a vase of flowers, it laid the foundation for a close look at text as image.
After a few years of using words, symbols and numbers in myriad ways, Lawrence made "The Ancestors and the Womb" (1995), a series of 10 works on panel that engage quilt patterns as signifiers for the relationship between text and code. A silhouette portrait of Lawrence's grandmother, who was a quilter, is joined with a tight spiral of dates marking the activity of the artist's womb in menstrual cycles. Titled from a line in Julie Dash's film Daughters of the Dust, "The Ancestors and the Womb," they are the same, part of this series was exhibited in the 1997 Whitney Biennial. Three key pieces from the series will be included in this exhibition.
Following the opening reception, the exhibit will be on display through November 13.
"Indeterminate Conversations 1990-2006" offers a look at four bodies of Annette Lawrence's artworks and the transitional pieces between them. The works in the show present a rare gathering of early large scale pieces with bold patterning, systems of repetition, and multiple parts. Looking at these works now is akin to seeing them come of age. They are full of life and well suited for the disruptive moment people are currently experiencing.
The works in "Indeterminate Conversations 1990-2006" mirror the process of Lawrence's studio practice. The exhibition charts Lawrence's work beginning with the monumental work on paper, "Wallpaper," which Lawrence created for her MFA Thesis exhibition in 1990 and presents various bodies of works through 2006. While "Wallpaper" is a play on space and form through alternating views of shadows cast by a vase of flowers, it laid the foundation for a close look at text as image.
After a few years of using words, symbols and numbers in myriad ways, Lawrence made "The Ancestors and the Womb" (1995), a series of 10 works on panel that engage quilt patterns as signifiers for the relationship between text and code. A silhouette portrait of Lawrence's grandmother, who was a quilter, is joined with a tight spiral of dates marking the activity of the artist's womb in menstrual cycles. Titled from a line in Julie Dash's film Daughters of the Dust, "The Ancestors and the Womb," they are the same, part of this series was exhibited in the 1997 Whitney Biennial. Three key pieces from the series will be included in this exhibition.
Following the opening reception, the exhibit will be on display through November 13.
"Indeterminate Conversations 1990-2006" offers a look at four bodies of Annette Lawrence's artworks and the transitional pieces between them. The works in the show present a rare gathering of early large scale pieces with bold patterning, systems of repetition, and multiple parts. Looking at these works now is akin to seeing them come of age. They are full of life and well suited for the disruptive moment people are currently experiencing.
The works in "Indeterminate Conversations 1990-2006" mirror the process of Lawrence's studio practice. The exhibition charts Lawrence's work beginning with the monumental work on paper, "Wallpaper," which Lawrence created for her MFA Thesis exhibition in 1990 and presents various bodies of works through 2006. While "Wallpaper" is a play on space and form through alternating views of shadows cast by a vase of flowers, it laid the foundation for a close look at text as image.
After a few years of using words, symbols and numbers in myriad ways, Lawrence made "The Ancestors and the Womb" (1995), a series of 10 works on panel that engage quilt patterns as signifiers for the relationship between text and code. A silhouette portrait of Lawrence's grandmother, who was a quilter, is joined with a tight spiral of dates marking the activity of the artist's womb in menstrual cycles. Titled from a line in Julie Dash's film Daughters of the Dust, "The Ancestors and the Womb," they are the same, part of this series was exhibited in the 1997 Whitney Biennial. Three key pieces from the series will be included in this exhibition.
Following the opening reception, the exhibit will be on display through November 13.
WHEN
WHERE
TICKET INFO
