Art Projects International is pleased to announce Gwenn Thomas: Recent Prints from October 28 to November 21, 2008. Gwenn Thomas’s recent prints of her Rosette, Song and Echoes series are shown together for the first time. Thomas is well known for her attention to detail, texture and surface quality in her digitally generated canvas work; she has for the last five years been bringing this same keen sensibility to the practice of printmaking. Her most recent series Rosette is a balancing act of the delicate and rough hewn and the precisely patterned and organically derived. Marks which remind of cuts in a stela form a rough circle including, at once, patternings of uneven concentric circles and askew crosses. In the Song series the prints display an arrangement of vertically oriented, variously colored, and isolated brushstroke like forms. The Song II series has similar vertical strokes but here in place of color the printed brushy marks seem, somehow, made of newsprint straight from the daily paper. The Echoes series contains the idea of text, but not text itself. Here, through hands-on manipulation of printing plates, Thomas offers beautifully complicated and textured line work structured, perhaps, after a book page or skeletal architectures.
Born in Rhode Island. Lives and works in New York City.
Art Projects International, New York, NY (2008); Photo+, Blue Star Contemporary Art Center, San Antonio, TX (2007); Yvon Lambert, New York, NY (2006); Art Projects International, New York, NY (2005); Galerie Hafemann, Wiesbaden, Germany (2005); Multiple Encounters, Indira Gandhi National Center of the Arts, New Delhi, India (2004); Wandering Library, Museo Ebraico di Venezia, (50th Biennale di Venezia), Venice, Italy (2003); The Recurrent, Haunting Ghost, Reflections of Marcel Duchamp in Modern and Contemporary Art, Francis Naumann Fine Art, New York, NY (2003); Kismet, The Work Space, New York, NY(2002); Art Projects International, New York, NY (2002); Galerie Hafemann, Wiesbaden, Germany (2001); Painting Function: Making It Real, SPACES, Cleveland, OH (2000).
Lilly Wei, “Gwenn Thomas at Yvon Lambert,” Art in America, reproduction, December 2006; Martha Schwendener, “Gwenn Thomas revisits Jack Smith”, Time Out New York, July 20-26, 2006; “Malerei ohne Pinsel: Aus New York zu Hafemann: Gwenn Thomas”, Wiesbadener Tagblatt, review, June 21, 2005; Deidre Stein Greben, “Painters to Watch: Collage Education,” ARTnews, reproductions, April 2005; Saul Ostrow, “Gwenn Thomas: Reproducing Photography’s Subject (Digitally),” Art Projects International: Ten Years, New York, 2003; Lilly Wei, “Kismet,” ARTnews, review, reproduction, November 2002; Ken Johnson, “Kismet, The Unexpected Connection”, Art in Review, The New York Times, September 6, 2002; Jonathan Goodman, “Gwenn Thomas at Art Projects International,” Art in America, review, reproduction, October 2002; Eduardo Costa, “Gwenn Thomas.” NY Arts, review, reproduction, June 2002.
The Metropolitan Museum of Art; Philadelphia Museum of Art, Philadelphia, PA; Museum of Fine Arts, Houston, TX; The Chase Manhattan Bank; Charles Saatchi, London; São Schlumberger, Paris; C.A.M., Fundação Calouste Gulbenkian, Lisbon, Portugal; Progressive Art Collection, Mayfield Village, OH; Citigroup, NY.
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