Page 1

Myth o Culture Narrative

Current Prints by Six Georgia Artists Patricia Phagan Curator of Prints and Drawings

Georgia Museum of Art The University of Georgia 1989

Exhibition Itinerary: Georgia Museum of Art The University of Georgia Decernber 2, 1989-JanuarY 21,1990 Fine Arts Gallery Kennesaw State College Kennesaw, Georgia

April l-April 30, 1990 Gertrude Herbert Institute of Art Augusta, Georgia October l9-November 30, 1990

01989, Georgia Museum of Art AII rights reserved

Litrrary of Congress: Cataloging-in-Publication Data Phagan, Patricia (Patricia Elaine)



"oltr"", Phagan.


narrative: current prints by six Georgia Artists/


2' "Georgia Museum of Art, the University of Georgia' December College' State 1989-Januiry 21, 1990: Fine Arts Gallery Kennesaw Kennesaw, i"", April 1-30, 1990: Gertrude Herbert 50' 1990'" Institute of Art,lugusta, Georgia, October l9-November references' Includes bibliographical

ISBN 0-915977-04-4 : $6.00 l. Prints, American-Georgia-Exhibitions' 2' Prints-20th

Georgia Museum of Art' III' Gertrude Herbert Gallery' Arts Fine II. Keinesaw C-ollege. Institute of Art. IV Title.

century-Georgia-Exhibitions' I' N8555,G4P4 1989 7 69.97 58' 07 4' 758 I




T;4resetting and Printing bY:

Tlre Unitersity of Georgia Printing Department Cover: 80 pound Simpson Filare Cover Text: 100 pound Potlatch Mountie Matte

for the Arts through the proqraTsJrovided by a grant from the Georgia Council Additional support is provided by the Friends ;",h" il

Support for this exhibition, catalogue and accompanying ;i; iv".Io^"r fndowment appropriations of the Georgia Ge.r-"r"I Assembly ""d of the Museum.

tW;lt;,ffftr: {ffi ';, :[;r:

when large numbers of American


mores. For example, during the

sents messages critical


porary society and culture in works by Cheryl Burgess, Barbara Daupert, Ric Hill, T. Regis Lewis, Joni Mabe, and Art Werger. Their images are cloaked in a vocabulary whose meaning is sometimes obvious but is more often oblique or tongue-in-cheek. These prints invite us to confront issues about our society and offer the views of six individuals who aim to challenge at the same time they delight.

Art with social

themes has a


heritage, and nowhere is this more prevalent than in prints.r Since

printmakings beginnings in the l5th centurJr artists have found the medium a particularly convenient and effective arena for social commentar;z This critical rradition has nourished artists as diverse as Francisco

Goya in the 19th century and George Grosz in the 20th.

Throughout the 1980s, in the United States, art with explicit or underlying social messages raised controversial issues.2 This persistent reappearance of involved art recalls

earlier periods in the 20th century 'Lengthy surveys have been wrirten on prints as social critique. See, for example, Ralph E. Shikes, Tbe In?Qnant Eye: T/)e Arti/t a,/ So-

cial Critit in Printt an) Drawinga /rom tbc Fi/tecntb Ccnhry to Picaddo,

Boston: Beacon press,

1969; and Frank and Dorothy Getlein, Tlte Bite of tbe Print; Satire an7 lrony in Vooilcuta, Engmuingu, Etcbingd, Litbographa anO Serig rapfu ,

artists protested current conditions or 1950s, social concerns generated the

government projects in the arts and stimulated much of the work produced during the decade. In the 1960s artists were in the forefront of the anti-war movement, and concurrentf4 but in a much cooler and more ironic wa54 Pop artists borrowed the methods and strategies of commercial advertising and thereby emphasized the pervasiveness of marketed imagery in


In the 1980s, interest in myths resurfaced, particularly myths imbedded in cultural codes and con-

ventional ideals, such as the myth of "the American &eam" where anyone who works diligently enough will be able to buy a home. Cultural and societal issues and narrative subject mattef became regular postmodern concerns-or some critics might sa54 are issues that help define post-modernism. Whether by actual text or by

pictorial conterit, narrative in contemporary art oftimes serves to reveal social and cultural prejudices. Adrian Pipea Jenny Holzer, and Group Material are some of the artists exploring this territor;z Many feminist artists-Dottie Attie and Ida Applebroog among them-combine myth, culture, and narrative in works suggesting society's insensitive treatment and stereotJpical attitudes to-

ward women. Media-based art

New York: Clarkson N. Potter Inc., 196J.

appropriating the look of photo-

2Some recent

exhibitions have surveyed this theme or explored certain apects ofit. These exhibitions include CommitteT to print: Social an7 Politbal Tbemu in Ruent Amerian printel

graphic advertisements prod viewers

Art, New york,

ma-Peterson, "Faith Ringgold's narrative quiltsi' Artd, Vol. 61 (January 1982),64-69;


Museum of Modern

New York, l9B8; 'All tbe Newd Tbatl Fit For Printt": A paralbl o/ docial concenu in grapbic art of tbe 1950/80a, Contemporary Arts Museum, Houston, Texas, 7988; Art an7 lOeolory,

The New Museum of Contemporary Art, New York, New York, 1984.

3On narrative, see, for instance, Thalia Gou-

Kate Linke4 "Eric Fischl: involuted narratives," Fktb Art, Vol. l15 (January 1984), 56-58; and Carter Ratcliff, "Narrative," Tbe Print Collectorl Newaletter, Vol. XII, No. 6 (January-February 1982), l7O-173.

to question the culrural r.alues and myths underlwing pervasive commercial images. These preoccupations coexisr rrit:h concerns about AIDS, the enr"iro.ment, crime, violence, abordon, debates o\Er govern-

msnl frmrling of contror-ersial


hibitions, and censorship ofthe arts. The artists in this exhibition draw on the powers of m1"th, culture, and narrative to quesrion social values. Issues arisrng from m;,th and

culture underlie Burgess' inquiries into the traditional roles of women within the famifz They also inspire Daupert's investigations of the female role in creation stories from various cultures. Mabe &splays her interest in these issues by manipulating the image of Elvis Presle;4 a cultural idol whose life and death have become contemporary legend. Hill points out the power and control of the popular media by creating prints through a process that begins by distorting images on the TV screen. Lewis perceives the individual's conflicts with power systems as a univer-

sal human condition. 'Werger captures

impressions of sifuations and relationships through narrative monoq4pes whose

imagery is based on dark

and sometimes threatening scenes from old black-and-white movies or from tableaux that he assembles and photographs.

Social commentary is a recurring theme in works of comtemporary artists. The exhibition is limited to Georgia in order to direct attention to printmakers living here and to satisfy the need for interpreting their work within a larger context. The technical processes used to produce these prints are diverse with monotJ4)e, etching, silkscreen, and lithography most often employed. Most of the works were created in 1988 and 1989.


Born in Minneapolis, Minnesota.


B.A., Carleton College, Northfield, Minnesota.

1980-82 Study at the Atlanta College of Art, Atlanta, Georgia. 1984 M.EA., University of Wisconsin, Madison, Wisconsin.

1986 Visiting artist,

Wesleyan College, Macon, Georgia.

1986-89 Adiunct instructor

in print-

making, Atlanta College of

Art, Atlanta,


Lives in Decatur, Georgia. Selected Group Exhibitions


II, Madi.Center, Madison, Wis-

Nep Ameriran Grapbi"cr son


consin (March-April; traveled




Intaglio Printmaking, E'lvehjem Museum of Art, University of 'Wisconsin, Madison, Wisconsin (May).


Georgia PrintmaQra, High Museum of Art, Atlanta, Georgia

(March-May). Annual Faculty Sbos, AtJ,anta College of Art, Atlanta, Georgia (August-September).


Un1crcutentt, Dalton"Gallery, Agnes Scott College, Decatur,

Georgia (January-March). Selected Bibliography

Cullum, J.W. "Undercurrents: Cheryl Burgess, Barbara Daupert, Margaret ReVille; . . ." Art Papera,Yol. 12, No. 5 (May-June 1988), 42-44.

Fox, Catherine, "'Undercurrents' brings gender issues to surface." lrlanta Journal an? Condtitution, January 51, 1988, Sec. J, p. 5. Harper, Glenn. "1986 Annual Faculty Show." Art Paperd, Vol. 10, No.

Cheryl Burgess has been making monotJpes, her principle medium, since her frrst year in graduate school, in 1982, at the University of Wisconsin.' She does not recall how she found out about the process, but it was while studying etching and growing frustrated at how long it took to realize her ideas that she began experimenting with other techniques. She discovered that the monoprint was faster than traditional printmaking methods. Untaught in the technique, she developed her own process through trial and error. Unlike many monotJ,?e printmakers, Burgess prints her colors one at a time. She rolls her paint out on the matrix-a slssl of plexiglass-instead of brushing it on, as many other artists do in monoprinting. Rather than paint a positive image and then print that on paper, she does the opposite-she wipes away the area that she does not want to print. Through handprinting, she transfers the painted section onto paper. As an undergraduate, Burgess created large silkscreen prints with intricate patterning. During those years, a family incident prompted Burgess to think seriously about male and female relationships and the inequalities that she perceives in them. She became more aware of her friends' relationships and the frustrations women experience. These feminist issues, increasingly important to Burgess, dominated her work for several years until she married and had a son. She then became absorbed in the issue of role-playing within the family unit. For example, in her print, Temptationt, she is concerned with the role of the mother within the family. On the left, the father embraces his family while the mother stretches her arms toward a creature who tempts her with a star. The print expresses the woman's need for keeping her own identity and not being totally consumed by her family. Burgess exaggerates form and color to underscore emotional content. She wants the viewer to be able to understand immediately the emotions of her figures, and she manipulates the shapes and colors of each to that end.

6 (November-December 1986), 55.

Larson, Judy


Georgin Printmaitra.


hibition catalogue. Atlanta, Georgia: High Museum of 1986, 16, 17, 29.


Ilnformation in this entry is based on an interview with the artist on July 7, l9B9

Temptationa, 1989

Monot;pe on paper Pol;rytych:

42 X 150 inches (frve sections, each 42 X 30 inches)



BARBARA DAUPERT Since 1982, when Barbara Daupert began making prints' mythological and dream imagery have infused her work.r An avid student of anBloomington, Indiana. thropology, she is preoccupied with evaluating accounts of the creation 1986 B.EA., Atlanta College of Art, Atlanta, Georgia. codes they engender. Daupert is aware of the thought andihe printin "-,llt,rr.l instructor Ad;'unct 1987-88 artists face systems underlying notions of creation since she and other ' making, Atlanta College of of creation use Her Art, Atlanta, Georgia' J.".rg" of options and decisions in making art. She sees her Lives in Atlanta, Georgia. theme-.s is, therefore, a metaPhor for her own art-making' the addressing as and Selected Group Exhibitions themes as relating to today and to the past 1985 D Id For Dog, GallerY 291' At- subconscious in a state that she calls "&eam time." Her intention, she lanta, Georgia (June)' "religious' mystical' and says, is to present a kind of cosmology where 1986 Georgi.a Printmafura, High Museum of Art, Atlanta, Georgia social" elements are combined' (March-MaY). Though Daupert's Prints are grounded in her own manner of think1988 [Jnlercurrentu,DaltonGallery, ing, she lorrd. against explicit messages and prefers that the viewer Agnes Scott College, Decatur, (JanuarY-March) Georgia *it " t i. or her own interpretations. However, creation stories are ContemPorary Artbtu in Georgia: tbe integral to the formulation of her works. For example, lYritten in Selutbnt /t'om tbe HQh r%uteum'd Demeter of myth Collection, High Museum at noal 5f,;*A, Adcen?ing) is loosely based on the Greek Georgia-Pacific Center,, goddesses who personi$, fertility. In the ancient story, ta, Georgia (August-October)' "ri P.r..phori" is resig.ted to spending Part of eachyear in the underworld Selected BibliograPhY print, Perso th;t the earth above can be rejuvenated. In Daupert! Cullum, J.W "Undercurrents: CherYl with her stands fertility, Burgess, Barbara DauPert, sephone, bearing a pomegranate, a sJrmbol of PaArt . . Margaret ReVille; '" mlther, Demeter. 1't "y "." accompanied by lizards (s,,rnbolizing the perd,Yol. 12, No' 3 (MaY-June to underworld, the artist says). Daupert interprets the story to allude rg88), 42-44. for Fox, Catherine. "'Undelcurrents' brings the constrictions on individual freedoms that fertility represents gender issues to surface'" lrwomen. lanta Journal an7 Condtitution, 3' J, Sec' JanuarY 51, 1988, P' Her interest in anthropology goes back to when' as a child growing of Natural Larson, Judy L. Georgia Printmaktrd' E.x' up in Chicago, she *ade frequenrtrips to the Field Museum hibition catalogue' Atlanta, S.i.."l years later, .t I.rdi".r" University, she studied anthroGeorgia: High Museum of Art, 1986.14,29. polog; intensive-ly. These formal studies have been supplemented by Born in Chicago, Illinois' 1967-70 Study at Indiana University,


extensive research triPs.

rlnformation in this entr.Y is based on an interview with the artist on July 7' 1989'



IN/ritten in tbe Bofo (Lizar?d Atcen?in), 1989 Etching, embossing on paper 37Y4 X 2B7z inches

RIC HILL 1,952 Born in Macon, Georgia. 1975 B.A., Mercer Universiqr Macon, Georgia,

t9Z8-81 Adjunct instructor in graphic

design, Mercer University,


Macon, Georgia. Instructor in printmaking, Fort Valley State College, Fort Valley, Georgia.

Lives in Macon, Georgia. Selected One-Person Exhibitions

1986 1987 1988


Ba*, Zero Base Studios,

Macon, Georgia (October). Nc Hill: rLIodt Rzcent Printt, Il{et' cer Universit;z Macon, Georgia (October). A Piece o/ tbe Pie, Fort Yalley State College, Fort Valley, Georgia (May).

Selected Bibliography Hil1, Ric and Stebbo HilL W Pbotographea 1957-1962.

Atlanta, Geor-

gia: Southeastern Arts, Media and Education Project Inc., 1988.

Ric Hill's idea of using images on television as source material for his prints recalls his grandfather's obsessive photo-documentation of scenes from TV shows in the late 1950s and early 1960s.1 Royce Augustine Hoyl" took almost 700 snapshots of scenes from popular programs such as the Ed Sullivan and Lawrence Welk shows and "What'. My Line?". His pictures captured elliptical and fleeting images of dancers, starlets, comedians, singers, actors, actresses, and game show hosts. Hill and his brothers, accustomed to seeing their grandfather shoot these pictures when they were younger, only realized the magnitude of his project when they discovered his photo albums in 1985. Instead of freezing the narrative on a black and white TV for documentary purposes, Hill manipulates the formal qualities of imagery on color television in order to heighten the nature ofthe subject. Color, line, and content inform his earlier screenprints-flat abstract fields of color embellished with hieroglyphs-and they continue to be central in his thinking. Discovering his grandfather's albums, however, transformed his ideas, and in his recent prints, Hill places a patterned plexiglass panel over the TV screen in order to distort the imagery. Then he makes a slide of an image that appeals to him. His choice relies on an exaggeration of the qualities or attributes of a situation or personality. From the slides, Hill makes color separations which are enlarged and transferred onto separate pieces of film. These images are transformed onto the screens that are swathed in transparent ink and printed color by color.

'Information in this entry is based on an interview with the artist on July 6, 1989; on Hillt grandfather, see Ric Hill and Stebbo Hill, W Pbotograpben I957- I 962, Atlanta, Georgia: Southeastern Arts, Media and Education Project Inc., 1988.

Malk o/ the Diamon? Lafo, l9B9 Siltrrscreen on paper

llY2 X

175ls inches


Born in Green Lake, Wisconsin.


B.EA., University of Georgia, Athens, Georgia.

Lives in Athens, Georgia. Selected Group Exhibitions


Tbe Book

u Art, Main Library,

University of Georgia, Athens, Georgia (February).


High MuArt, Atlanta, Georgia

Georgia Printma,brz,

seum of

(March-May). btremiz, Department of Art, University of Georgia,

Four in

Athens, Georgia (JulyAugust).

Prints by T. Regis Lewis carry oblique messages that refer to basic human relationships or emotions.r In Deatb o/ a Contciout caltr? Free?om, Lewis targets a universal though especially topical issue-the eclipsing of individual freedoms in society. The "splattered" figure in this work personifies, he says, the conflicts over personal freedoms that individuals face in any culture or society. The current controversies over art censorship and abortion are syrnptoms, for Lewis and others, of an intolerant atmosphere. In many of his prints, Lewis wishes to communicate social change. With either pursuit-social change or basic human emotions-he wishes to reach a mass audience. To this end, he has screenprinted many of his designs onto posters that are sold cheaply throughout the local area,

Selected Bibliography

Larson,JudyL. GeorgiaPrintmakerd.Ex- Lewis employs unconventional tools and materials to create interhibition catalogue Atlanta, esting textures: drills with his etchings, rope with his collographs, Georgia: High Museum of




,sandpaper and household wire mesh with his screenprints. This experimentation adds to the physicality of printmaking, a process that allows him to "wear off his mental energy."

'Information in this entry is based on an interview with the artist on July 19, 1989

Deatle o/

a Condciout

Calle? Free?om, 1989

Silkscreen on paper 30rAe X l5rzle inches

JONI MABE 1957 Born in Atlanta, Georgia. l98l B.EA., University of Georgia, Athens, Georgia. University of Georgia, Athens, Georgia.

1985 M.EA.,

Lives in Athens, Georgia. Selected One-Person Exhibitions


Tbe Elpit Room,

Department of

Art, University of Georgia, Athens, Georgia. tVe, tbe lYorl7, . , . Juur,


ment of Art, University of Georgia, Athens, Georgia.

1984 I IYanteO to Hage Eluit' Baby, but Juu .Sai? It IN/aa a Sln, Nexus Contemporary Art Center, At(OctoberNovember). Elyiz: Tbe King it Gone but Not Forgotten, Franklin Furnace,

lanta, Georgia


New York, New York (January-February). Joni tLlabe) T.aueling tLlureum o/ Obdetaiona, Peraonalitie4 an7 O20-

Southeastern Center for Contemporary Art (SECCA), 'Winston-Salem, North Carolina. rlz,ea,

1988-89 Joni t%abe) ll/orl) Famout Tiaoeling

filuteum, Zero One Gallery, Hollywood, California


(December-January). Selected Group Exhibitions


High MuArt, Atlanta, Georgia

Georgia Printma*tru.

seum of

(March-May). Selected Bibliography

"Joni Lee Mabe." Art/orum, Yol. 26, No. 8 (Aprit 1988), 142. Fox, Catherine. "Love it or hate it? Athens artist wants response to work." Atlanta Journal an7 Con,ttitution, November 4, 1984, Sec. J, p. 5. Mabe, Joni. Joni ty'Iabeit tWuzeum Book. AtIanta, Georgia: Nexus Press, Cooper, Dennis.

Joni Mabe makes installations that transform spare gallery spaces into wall-bedecked shrines to popular culture.r Black velvet paintings of Jesus Christ and Albert Einstein, old 45 {pm country music records, hubcaps and tire rims, mass-produced images of Elvis presley, Natalie wood, John waJme, and others, and open-suitcase memorials to pop culture stud the walls in her exhibitions. Joni twabel n"aveling Mweum o/ ofueddiond, Pertonalititt, an7 o??itied, her collection of memorabilia and cultural artifacts, is the outgrowth of several exhibitions since lggj that parody aspects of vernacular culture. Her collection of Elvis memorabilia and her interests in caricaturing the Elvis phenomenon have grown to such an extent that she has created Joni twabe? lf,/orl? Famout Tiaueling Elvil Lluteurz in which wall decorations are presented in the same compulsive spirit of her other installations. In addition to the posters, suit-case reliquaries, and reproductions of photographs of Elvis, Mabe displays cult objects that she has made, including prints that celebrate and mock. These "Elvis mosaics," which Mabe started making in 1985, are photocopy transfer lithographs adorned with glittea sequins, and lace, and mounted on black velvet. They are, she says, a "take-off" on popular black velvet paintings. In the same spirit, the gold-tone plaques on some of them are Mabet parody of "high art." The "Elvis mosaics,, have a source in Byzantine art Mabe saw in Italy on a trip to cortona in 1980. Mabe took note of the mosaics' glittery tiles and religious functions in developing her series of prints of Elvis, who, she says, is for many the object of an almost religious following. Most of the scenes in Mabe's "mosaics" are from Elvis' earlyyears as a rock and roll singer-the late 1950s. The images, which are reproduced repeatedly in magazines and books, are of Elvis and members of his family. His likeness, as Mabe says, is "out there all the time.,, This idolization of pop figures, recalling Andy Warhol's prints and paintings of celebrities, informs Mabe s lithographs and installations. Her folk artlike compulsions, her obsessions with commemorating the past, and her choice of rock and roll, country music, and Hollywood figures emerge from and parody popular culture.


tlnformation in this entry is based on an interview with the artist on November 8, l9gg.

l!lt\\:ttt r;i, Itlli

r lllr







{kw fruyu &$

l,l\{ ;fi \il l}





Blrtde? Elvi^d Prayer Rug, I9B9

Lithograph, photocopy transfer, glittea poly"iq),I acetate, human hair on paper 55Vz X 24 inches


Born in.Ridgewood, New Jersey.

1978 1982

B.EA., Rhode Island School of Design, Providence, Rhode Island. M.EA., the University of Wisconsin, Madison, Wisconsin.

1982-88 Assistant Professor of Art, Wesleyan College, Macon,


Georgia. Chair, Visual

Art Department,

Wesleyan College, Macon, Georgia.

1988- Associate Professor of Art, Wesleyan College, Macon, Georgia.

Lives in Macon, Georgia. Selected One-Person Exhibitions

1988 Art 1989

lYerger: Grapbb lYorkd, Albany Museum of Art, Albany, Geprgia (January-February). Encountert Ten: Art ll/ergt,

Huntsville Museum of Art, Huntsville, Alabama (MayJune).


Selected Group Exhibitions


Soutbeail Seyen 9, Southeastern

Center for Contemporary Art

(SECCA), Winston-Salem, North Carolini (April-May). Georgia Printma*eru, High Museum of Art, Atlanta, Georgia


(March-May). Fact/Fittion/Fanta4;RnentNarratiye

Art in

tbe Soutbead,


versity of Gnnessee, Knoxville, Tennessee (October). Selected Bibliography Joiner, Dorothy.

'Art Werger." l rt Papert,

Yol. 12, No. 6


December 1988), 58-59. Kurka, Don and Sam Yates. Faet/Fbtion/ Fantady; Rrcent Narratiye

Incidents disrupting the quiet nighttime streets depicted in Art Werger's etchings are brought into disconcerting proximity in his monotJryes.l shadowy and elusive figures drawn in loose gestural strokes meet the viewer at arms length in these black and white impressions, each of which is printed only once from a quickly prepared matrix. A far more urgent process renders the close-up scenes in the monotJapes in contrast to the etchings where the overall effect is one of deliberation and control. werger uses special properties of each medium-spontaneity in monotJryes, line in etchings-to reinforce spatial and temporal distances between the viewers and the scenes. werger has an affinity for exploring space/time relationships. At the Rhode Island school of Design, a professor encouraged werger to create automatic &awings of images from his &eams. He followed the suggestion,'waking up during the night and recording an image and then developing it the next day in an etching. Producing a print this way dail56 werger created a diary of images. Eventually he expanded on this idea and created multiples by printing seven etchings on a sheet to represent one week and four rows of seven etchings to sJrmbolize a



Exhibition catalogue. Knoxville, Gnnessee: tbe Soutbeaat.

In contrast to the sources in these early works, the monotJ4)es are based on scenes in photographs that werger takes from old movies on television or from tableaux that he constructs. Angles, shapes, light and dark patterns, and enigmatic scenes are the criteria he uses for selecting an image. He is particularly attracted to transforming "freezeframed" scenes of movies made in the 1940s. w'erger is also drawn to brooding, often threatening imagery. when asked about the element of social cdmmentary in his more violent monotJ4)es, 'werger offers that, for him, his prints seem to be "more of a commentary on the media, the numbing through the media. . . ." After choosing a subject for a monotJrye, Werger draws and redraws it repeatedly, modi$ring it to enhance the effects he wants to achieve. The composition is then translated into ink on the matrix, the dark surfaces wortrred out before manipulating the light areas.

University of Gnnessee, 1987, n.P.

Larson, Judy


Georgia Printma,kerd.


hibition catalogue. Atlanta, Georgia: High Museum of 1986, 5, 51.


tlnformation in this entry is bmed on an interview with the artist on July 6, 19g9.

By Force, 1988

Monot;rye on paper



407a inches

CHECKLIST l. Cheryl Burgess F.xpectationa, 1989

MonotJ4)e on paper Tiiptych: 90 X 42 inches (Three sections, each 50 X 42 inches)

10. T. Regis Lewis Tbe Lunatit, 1989 Silkscreen on paper 26Yc X 20 inches


2. Cheryl Burgess

Silkscreen on paper 28ths X I97z inches

fuvelatinnd, 1989

Monoq,pe on paper Pol;,ptych: 84 X 60 inches (Four sections, each 42 X 50 inches)

12. T. Regis Lewis Dcatb o/

Templationa, 1989

BluaeO Elvia Prayer Rug, 1989

Lithograph, photocopy transfer, glitter,

po\winyl acetate, human hair on paper 33r/z

A0am2 Sba)ow, 7989

28 X 17 inches

Lithograph, photocopy transfer, photocopy collage, glittea po\rvinyl acetate, human hair, sequins, acrylic paint, Iace, velvet on paper

Monotype on paper 24 X 36lz inches


4031e inches

Love tLIe Ten)er,



Lithograph, photocopy transfer, photocopy collage, glitter, polyvinyl acetate, acrylic paint, stickers, pen, pencil, marker on paper

7. Ric Hill tllatk o/ tbe Diamon) La?y, 1989 Silkscreen on paper



15. Joni Mabe

Bo)y @bar?d Adcen1ing),1989 Etching, embossing on paper 57Y4 X 2872 inches


24 inches

Jaihoute Rock, 1983-1989

Idlan1d, 1989

IYriten in


14. Joni Mabe

5. Barbara Daupert

6. Barbara Daupert

Conacioru Calb? FreQom, 1989

13. Joni Mabe

4. Barbara Daupert Subtractive linoleumcut


Silkscreen on paper 30he X 15hs inches

3. Cheryl Burgess MonotJ4)e on paper Po\4ptych: 42 X 150 inches (Five sections, each 42 X 30 inches)

T. Regis Lewis tllotbers'it, 1989







57Vc inches


By Force, 1988

Monotype on paper

8. Ric Hill Fbing to Sing, 1989 Silkscreen on paper

30 X

407e inches


llr/z X,

17 inches

9. Ric Hill Tbinktr in a Tbink Tank, 1989

Silkscreen on paper

1lV, X

l7Y< inches

17. Art Werger CorrAord, 1987

MonotJ,?e on paper 29Ya X 22 inches 18. Art Werger Docunpour



Monot;,pe on paper

50 X 407s inches

All works are in the collection of the artist

Measurements are given for image size; height precedes width.

Myth, Culture, Narrative: Current Prints by Six Georgia Artists  

This brochure accompanied the exhibition of the same name, on view at the Georgia Museum of Art Dec. 2, 1989-Jan. 21, 1990, and features an...

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