Paulson Fontaine Press

Torkwase Dyson describes herself as a painter working across multiple mediums to explore the continuity between ecology, infrastructure, and architecture. Dyson’s abstract works are visual and material systems used to construct fusions of surface tension, movement, scale, real and finite space. With an emphasis on the ways black and brown bodies perceive and negotiate space as information, Dyson looks to spatial liberation strategies from historical and contemporary perspectives, seeking to uncover new understandings of the potential for more livable geographies. Dyson has participated in group exhibitions at the Smithsonian National Museum of African Art, Washington, D.C.; Whitney Museum of American Art, New York; The Museum of Modern Art, New York; and California African American Museum, Los Angeles, and has had solo exhibitions and installations at Colby College Museum of Art, Waterville, Maine; Graham Foundation for Advanced Studies in the Fine Arts, Chicago; Schuylkill Center for Environmental Education, Philadelphia; and Suzanne Lemberg Usdan Gallery, Bennington College, Vermont. Dyson is represented by Pace Gallery in New York and Gray Gallery in Chicago. Sculptor, Martin Puryear employs wood, mesh, stone and metal to create forms that resist identification. His objects and public installations are a marriage of minimalist logic with traditional ways of making. Puryear represented the United States at the Bienal de São Paulo in 1989, where his exhibition won the Grand Prize. Puryear is the recipient of numerous awards, including a John D. and Catherine T. MacArthur Foundation Award, a Louis Comfort Tiffany Grant, and the Skowhegan Medal for Sculpture. Puryear was elected to the American Academy and Institute of Arts and Letters in 2007 and received an honorary doctorate from Yale University in 1994. His work is included in the permanent collections of the Museum of Modern Art, NY, The Getty Museum, Los Angeles, The Corcoran Gallery of Art, Washington D.C. and the National Gallery of Art, Washington D.C. among others. He is represented by the Matthew Marks Gallery, NY.

Markers of Time includes works by Ross Bleckner, Woody De Othello, Chris Johanson and Martin Puryear. Ross Bleckner’s etchings: Early Every Morning, Early Every Evening, Eclipse, Shadow, Spinning and Winter are all observations and meditations on shifting shadows and light, mapping changes in nature. Woody De Othello’s interior scenes playfully collapse into themselves through layers of bright color and domestic form. Clocks, light switches, lamps and hourglasses point to the passing of time and the reverie of both the Surrealists and California Funk artists. Shoulders State 1 and State 2 are characteristic of Martin Puryear’s etchings. He often creates editions in stages, keeping his original plates to return to later. His sculpting process is often reductive, and with the etchings the removal of copper with acid becomes additive, pushing the image further into new space. Chris Johanson’s work grapples with the energetic immediacy of the present, the hope of the future, and the expansiveness of forever. Often using text, his free-flowing messages cut through time and place and leave us to consider our human experience.

For his latest iteration of prints, Chicago-based painter McArthur Binion (b. 1946, Macon, Mississippi) presents nine distinct editions, titled Berkeley:Suite 10-15 and Sixteen:Square 1-3. The formal and conceptual bedrock of the new works, what Binion calls his “Visual:Ear,” draws an ecstatic loop in the artist’s practice: The editions mark a return to an idea first crystalized over 50 years ago while he pursued his MFA in painting at Cranbrook Academy in Bloomfield Hills, Michigan. Binion coined the phrase while making a drawing titled Drawn Symphony:In:Sane:Minor, 1971 and it remained dormant in his mind, but nonetheless present for decades. The concept was then reactivated and visualized on the occasion of Visual:Ear, a solo-exhibition presented by Xavier Hufkens Gallery in 2022, for which these prints served as a testing ground. According to the artist, this series represents “the clarification of my character as a painter.” Since the genesis of his DNA series in 2013, Binion’s artworks have consistently sprung forth from a base layer of imagery that the artist names the “underconscious,” atop which he layers pigmented ink and paint stick to form the frenetic geometric shapes and patterns that denote his signature aesthetic. Formerly, the “underconscious” has been almost exclusively made up of reproduced images of Binion’s personal ephemera, like his address book, birth certificate, childhood home, and portraits taken at various stages throughout his life. For his Visual:Ear works, though, the “underconscious” is made up of a musical score titled Still Standing Stuttering, which Binion commissioned from Pulitzer Prize winning composer Henry Threadgill. Thus, this particular series denotes a new horizon for his oeuvre, in that it further abstracts Binion’s auto-biographical presence in the work. The title of the score draws another loop in the artist’s practice, in that it is culled from a painting titled Stuttering:Standing:Still, 2013, which was dedicated to Binion and Threadgill’s mutual friend, Butch Morris, who was also a conductor and composer. Music, particularly jazz, has long been a significant influence on Binion’s practice, as he rubbed shoulders with musicians like Cecil Taylor, Olu Dara, Julius Hemphill and Butch Morris, as mentioned above, when he lived in New York in the 1970’s and 80’s. It also bears noting that Binion, from a young age, became adept in modes of communication that exceed the verbal, as demanded by his verbal stutter: “The visual ear is a [form of] non-verbal communication,” says the artist. With this in mind, this new body of work invites us to rely on all our senses as forms of evidence and knowledge production and gives credence to the fact that spoken language is not the only way we come to know, connect with and relate to one another. Ultimately, probing sensorial questions that range from the mundane to the existential, these prints propose the supreme value of learning to look by listening, and likewise, learning to listen by looking. -Camille Bacon