Baldessari, Hockney, Johns, Nauman, Ruscha, Twombly
Open March 21 – May 2, 2025
John BaldessariI Will Not Make Any More Boring Art
David HockneyA Rake’s Progress- Jasper JohnsSavarin
- Jasper JohnsDecoy II
- Jasper JohnsWatchman
- Bruce NaumanViolins/Violence
- Bruce NaumanProof of Pudding
- Bruce NaumanI Learned Helplessness from Rats
- Edward RuschaHollywood
- Edward RuschaAnchovy
- Cy TwomblyFive Greek Poets and a Philosopher
About this exhibition
Susan Sheehan Gallery is pleased to present Writing on the Wall, a group exhibition exploring the written word’s role in postwar printmaking. Text-based art may seem straightforward, but on closer inspection, words reveal deeper layers—interwoven with historical context, cultural commentary, and personal meaning. Ranging from introspective to tongue-in-cheek, the prints in the exhibition command a second look.
David Hockney’s early intaglio portfolio, A Rake’s Progress, merges narrative printmaking with autobiography. Inspired by William Hogarth’s 18th-century series of the same name, the prints chronicle Hockney’s first trip to New York City. His use of text, often partially obscured, adds depth rather than mere description. In plate 3, a floating bottle labeled “Lady Clairol” twists out of view, referencing Hockney’s decision to bleach his hair, inviting personal engagement. In the final plate, “Bedlam” appears prominently. However, its meaning shifts as five identical figures suggest conformity, not exile, as the true form of madness.
Words, letters and numbers frequently appear in Jasper Johns’ work, often treated as a found object in his assemblages. In his monumental 1981 lithograph Savarin, however, text becomes both personal and referential. The distinctive Savarin Coffee label first appeared in his sculptural work in the early 1960s. Over time, it evolved into a symbol of the artist and his studio practice—an abstracted self-portrait. In the lower portion of the print, a skeletal arm and the bold red initials “E.M.” stand out against the monochrome. This unmistakable reference to Edvard Munch highlights his influence on Johns’ printmaking.
Cy Twombly’s lyrical abstraction is defined by expressive linework reminiscent of calligraphy and graffiti. Though largely non-figurative, his work draws heavily from classical civilizations. It seeks to bridge ancient culture with twentieth-century modernism. An expatriate who spent much of his life in Italy, Twombly was an avid student of Greek and Roman mythology, poetry, and philosophy. His embossed lithograph portfolio, Five Greek Poets and a Philosopher, reflects this influence. Each sheet features a single name in his large, scrawling handwriting. The intimacy of his script invites viewers into his thought process, while the portfolio’s presentation lends it an academic quality.
West Coast artists Ed Ruscha and Bruce Nauman are deeply engaged in text-based art, using clever imagery to challenge viewers’ perceptions of meaning and context. Ruscha’s Hollywood depicts the iconic landmark at an exaggerated scale against a vivid backdrop. Both familiar and uncanny, the effect is heightened by the wide-lens orientation, making the work feel like Hollywood itself. Nauman’s Violins/Violence exemplifies his conceptual wordplay, contrasting homonyms through illustration and text.