#tamarind workshop

[junewaynecollection]

Arriving, 1907. The Dorothy Series 2. October 1976

Color lithograph printed by Edward Hamilton on Wayne's own Rives with mushroom watermark.

I: 17 1/4 x 21 5/8 in., bleed; deckle and torn

Edition of 20; titled, signed, numbered, and annotated in pencil within image lower right; embossed with artist's and printer's chops

Selected Exhibitions: Skirball Museum, 1998 Skirball Cultural Center, 1996 Western Association of Art Museums, 1981 Palm Springs Desert Museum, 1977 Rubicon Gallery, 1977

Selected Collections: Arizona State University Art Museum Bibliotheque Nationale de France Brodsky Center Fresno Art Museum Grunwald Center Jewish Museum National Gallery of Art National Museum of Women in the Arts, Neuberger Museum of Art Pomona College Museum of Art San Diego Museum of Art Skirball Cultural Center Zimmerli Art Museum

"I wanted to show them as they were, arriving in this country. I wanted the shock; how they might look if one of those flash photographs had been taken. So everything is bleached, as if the picture is solarized.

It's that moment of befuddlement upon arriving in a completely new environment. That's how I was setting up her story. They came through Ellis Island, assisted by HIAS, the Hebrew Immigration Aid Society, which still exists." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

[junewaynecollection]

Verdict, State II, Burning Helix Series. September 1970.

Lithograph printed by Serge Lozingot on Rives with the Tamarind watermark.

I: 38 x 23 in., bleed; deckle and torn.

Edition of 25, numbered signed, and titled in pencil within image lower left; embossed with the artist's and printer's chops.

Selected Collections: Bibliotheque nationale de France Brodksy Center Grunwald Center

"I was fascinated by genes' total indifference to the individual, that we are this combination of predetermined accidents. We don't know how those genes are going to behave, how long they will behave well, or badly, or which one is damaged, and so on. The paradox of knowing that much about ourselves, yet nonetheless being at the mercy of this system of molecules, was very much in my mind.

"I called this Verdict because it refers to an inherited genetic verdict." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

[junewaynecollection]

June  Wayne in front of her painting, Ozark Family. 1940.

Egg tempera on gesso on canvas. 24 x 20in.

In 1938, June applied and was accepted into the Easel Project of the Works Progress Administration (WPA) in Chicago.  She was still using her palette knife techniques, and recorded industrial landscapes and images of citizens coping with the effects for the Depression. She joined the Artist's Union, seeking to preserve the WPA projects as permanent government agencies. She went to Washington, D.C. to testify before a Congressional committee.

Ozark Family is known only from this photograph. It is based on the artist's observation of other images from the rural South, not from her direct experience there. Note the exaggerated size of the figures' hands, an indicator Wayne used in other painting of this time to signify working-class status.

[junewaynecollection]

Breaking Ground reveals the variety of ways in which artists in the 1940s and 1950s pushed the boundaries of printmaking. Through a selection of innovative prints as well as ceramics, textile, and sculpture—all drawn from the Museum’s collection—this exhibition conveys the vibrant spirit and extraordinary growth of the arts during these decades.

Among the artists represented are influential figures Anni Albers, Antonio Frasconi, Stanley William Hayter, Alice Trumbull Mason, Gabor Peterdi, Robert Rauschenberg, and June Wayne.