a l c h e m y & I n q u I ry

P hIl I P ta af f e , f r e d t o maS e l lI , t er ry WI n te rS WAVE H ILL G LYN DOR GA LLERY

a l c h e m y & I n q u I ry
PhIlIP taaffe, fred tomaSellI, terry WInterS

a l c h e m y & I n q u I ry
PhIlIP taaffe, fred tomaSellI, terry WInterS

e S S ay b y P e t e r l a m b o r n W I l S o n
ORGANIZED BY RAYMOND FOYE AND JENNIFER MCGREGOR APRIL 3 JUNE 19, 2011

WAVE HILL
675 WEST 252ND STREET BRONX, NY 10471- 2899 718.549.3200 WWW.WAVEHILL.ORG

Philip Taaffe, Sea Vent I, 2011 Mixed media on canvas mounted on panel, 40 3/4 x 30 7/8 inches
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IntroductIon

Alchemy & Inquiry underscores the sense of transformation and discovery that unites the work of Philip taaffe, fred tomaselli, and terry Winters, and situates their dynamic energy within the experience of nature. for these artists, making art involves immersion in natural history, science, and alchemy, with inspiration ranging from arcane botanical illustrations to birding eld guides and complex weather charts. each has developed an individual approach internalizing diverse cultural sources while skillfully synthesizing visual, cultural, literary, and scientic ideas. this researching, culling, and layering leads to work that is original, inspired, and inuential. the works on view invite extended and repeated looking; collected together in a single exhibition, they promise a sublime experience. the textures, colors, and scents of the garden are a welcome counterpoint to this exhibition. the intuitive joy and optimism that one feels walking through the garden is echoed throughout the three rooms of Glyndor Gallery. each artist occupies a room and presents a distinct experience, just as each garden at Wave hill offers a distinct set of sensations. In the north Gallery, Philip taaffes paintings share characteristics with the Wild Garden, yet offer a sense of unpredictability and profusion that belies the underlying order of the aesthetic and botanic choices made in cultivating the garden. In the center room, the experience of standing in front of fred tomasellis paintings and works on paperwith their methodical processes and multi-layered collages that reveal themselves upon sustained viewingis akin to

Fred Tomaselli, Bloom #1, 2011 Gouache on photogram, 14 x 11 inches

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standing at the center of the flower Garden in June, taking in both panorama and individual petal and leaf. terry Winters complexly structured drawings and paintings, with emblematic bloom-like gures unfolding at their center, share qualities with the side-by-side herb, dry, and alpine Gardens. the former green house foundations, prominent in all seasons, provide a framework for growth that permeates these structures with roots below and plants above. the word alchemy in the exhibition title alludes to transformation on many levels: chemical, magical, and spiritual. creative powers are summoned to transform common elements physically and metaphorically into substances of great value. In his illuminating essay, Peter lamborn Wilson examines the common root in hermeticism (the ancient spiritual, philosophical, and magical tradition that takes its name from the Greek god hermes and the egyptian god thoth) that unites the work of Winters, tomaselli and taaffe. In the broadest cross-cultural perspective ranging from pre-history to the present, Wilson looks at alchemy as a misunderstood, maligned, and suppressed practice that has fascinated great scientists and artists alike. With practices and insights that pregure many important discoveries in biology, chemistry, and physics, alchemy likewise fascinated and continues to fascinate poets and painters, serving as an allegory for the physical manifestation of immaterial spirit. Indeed it was itself a kind of spiritualized science at a time when distinctions among these subjects and disciplines were much less rigidly drawn. Wave hill board member Katie michel, who has published books or prints with all three artists, invited independent curator
Terry Winters Pollen, 2011 Suite of nine relief prints with embossment, 18 x 14 inches
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raymond foye here last summer to see the nature printing exhibition Propagating Eden: Uses and Techniques of Nature Printing in Botany and Art. We immediately began to discuss how the work of taaffe, tomaselli, and Winters is so well suited to Wave hill and Glyndor Gallery. from that meeting came the inspiration and generous impetus for this exhibition. on a beautiful autumn day the artists all visited together to view the gardens and exhibition space; they compared notes on their present works and interests, and soon began to plan this joint exhibition. We extend grateful appreciation to Philip taaffe, fred tomaselli, and terry Winters for embracing the garden and landscape and creating these new paintings, prints, and drawings. thanks are also due respectively to Gagosian Gallery, James cohan Gallery, and matthew marks Gallery, who represent the artists and have facilitated this exhibition. thank you to arthur Solway for traveling a version of this show to James cohan Gallery Shanghai this fall. deep gratitude to collaborators raymond foye for his vision and diligence, to Katie michel for her inspiration and to the Grenfell Press for the design of this catalogue. heartfelt thanks to the Wave hill board and executive director claudia bonn for ensuring that the arts are a vibrant part of the Wave hill experience. finally, appreciation is due to my hard-working colleagues who make Wave hill the treasure that it is, and particularly to my curatorial team Gabriel de Guzman and Stephanie lindquist, who bring joy and creativity to every undertaking. JennIfer mcGreGor
WAVE HILL SENIOR CURATOR

Philip Taaffe, Cereus Chrysocentrus, 2011 Mixed media on canvas mounted on panel, 53 1/2 x 59 inches
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maGI-ISm
by Peter lamborn WIlSon I.

When, In the early 1950s, in a letter to cid corman, charles olson invented or rst used the term postmodern, he had no idea what Postmodernism would actually become: the exhaustion of meaning, the attening of idealism, the suffocation of vitality in a plethora of epistemologies. olson had hoped that the rigid ideologies of high modernism with its fetishization of progress and adulation of the machine, would be overcome and replaced by something like the idealism of the 1960s, with its emphasis on spirituality and nature. and in fact the sixtiesat their bestare precisely about the old romantic project of rejecting the modern for the eternal, which demands the continual and even ecstatic revivication of age-old valuesthe everlasting Gospel, as blake called itor the eternal avant-Gardeaesthetically and politically committed, all hearts on sleeves. Somewhere around the same time another form of postmodernism appeared, one which viewed all commitment to values as so much persiage and buncombe and replaced the romanticism of the sixties with the moral relativism and cool withdrawal from emotion and spirit that characterized the 1980s and still shapes todays ofcial aesthetic consensus. that consensus would now refuse to see itself as unied by anything except triumphant capital, just as andy Warhol had so languidly foretold. the consensus was now that... there was no consensus. and certainly no more avant-Garde.

Fred Tomaselli, Dahlia, 2011 Photo collage, acrylic, resin on wood panel, 48 x 48 inches
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In this atmosphere it appeared impossible to maintain the romantic telos of the sixties, with its fervid search for alternative spiritualities rather than oppressive ideologies. however it was not, by and large, the artists who drew this conclusion. from Wassily Kandinskys On the Spiritual in Art, to Surrealisms discovery of alchemy, to abstract expressionisms deep involvement in mysticism, it wasnt the artists who abandoned the idea of the eternal avant-garde, rather it was the theorists and critics who managed this disenchantment. Still, the very affectlessness of Postmodern universalism (whatever) left open the possibility that some artists would choose to investigate the concerns of the everlasting romantic revolt and try to rescue such concepts as beauty and meaning, in the new dialectical mode, from the dire fate theyd apparently suffered under the aegis of Pure capital and its critical apologists. In other words, they would embrace olsons attitude toward what is post the modern, not that of the theoretical nihilists. these artists were to discover how to be utterly modern (in rimbauds phrase), how to be spiritual without producing mere metaphysical kitsch, how to enjoy beauty and signicance without sacricing the contemporaneous to some sentimental version of the eternal, to some religiosity or new Slave mentality. Some of these artistsand now Im narrowing in on my subjectsfollowed Kandinskys proposed or implied trajectory: through expressionism to Surrealism to abstract expressionism to a new form of abstraction in which the impurity of the emblem or representational image would be allowed a playful presence in the (sub)consciousness of artist and viewer alike. In this art, there would be no need to suppress such natural human

inclinations as love of beauty or belief in magic in the name of any postmodern coolness of disenchanted irony. In speaking of terry Winters, Philip taaffe and fred tomaselli, however, one could go even further and invoke a Kandinsky-like Hermeticism to dene the kind of art they make. the two forms of postmodernism share a certain space in which the cabinet of curiosities or Giordano brunos Palace of memory is occupied by abstract forms and colors as much as by alchemical emblems with their proto-Surrealist heraldics. as the great neglected art historian carl Schuster (of Woodstock, ny) pointed out, the abstract art of the neolithic and of primitive societies is in fact deeply coded with aesthetic and metaphysical (and even genealogical/historical) content. It does not devolve into writing, and it does not permit any dictatorship of the image. Its patterning thus includes both beauty and magic, which we can at least appreciate as, say, an exotic fabric or painted gourd or wampum belt or maskeven if we have lost the code. If marcel duchamp and Warhol between them dene the present dialectic for art, then duchamp must be seen as the hermeticist of the pair; and in fact he was deeply interested in the subject. (Warhol, if anything, was a spoiled catholic mystic.) from duchamp and his serious jokes (an alchemical term) descend, say, Joseph cornell and his boxes or harry Smith and his overtly hermetic animated cut-outs, or his jazz paintings. three such different artists as Winters, taaffe and tomaselli, have this in common, this almost apostolic succession in the eternal avant-Garde. hermeticismParacelsus, the rosicrucians, brunolives at the secret core of romanticism. novalis is a

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neo-hermeticist, as is William blake. and hermeticism also abides in contemporary art asId like to believea secret avant-garde, for the re-enchantment of aesthetic vision.
II.

It SeemS PoSSIble to speak now of a Green Hermeticism that encompasses or at least visits the work of all three painters. fred tomaselli can speak for the Plants themselves and their agendai.e., to make the world safe for plants by communicating with us via certain chymical atomies and teaching us green thoughts in a green shade. Philip taaffes work, both crystalline and vegetative, virtually recapitulates the naturephilosophy of the botanists and botanical artists behind some of his own paintings. In terry Winters latest works depicting notional owers, a most Goethean science informs the metamorphosis of oral morphology through the very poeticization of science demanded by novalis in Disciples at Sas, and the invention of a new color: Novalis Green. these delicate variations of vegetal expression release all the tension of terry Winters knots series into spontaneous gestureswaves of becoming, the rst thought best thought gesture of nature herself. these owers are imbued with tao, as if the artist could merely step aside and let nature do the naturing. the result is deeply familiar. here, all is dream-stuff, raw material of the Imagination. In hermetic termsthe egg of chaos. Winters attempts to bring alchemy back into art by making or modifying his own art materials, combining pigments, oils, emulsions, waxes and various resins. these ingredients of course
Terry Winters, Hexagram / 3, 2011 Graphite, gouache, acrylic, ink on paper, 22 3/8 x 30 inches
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make their own alchemical as well as aesthetic demands. as with artists/alchemists of the past (such as Parmiagianino or dosso dossi), Winters delves into the inner being of these metals or botanicals simply to discover their real use. What do chemicals want? Similarly with nature studies, cells, plant morphologies, mushrooms, he approaches real worlds via the abstractions demanded by the very materials.
I was taken with the architecture of natural forms. My approach wasnt representational; it was both abstract and structural. I was developing a way of working, where abstraction becomes a strategy to imitate nature in her manner of operation thats John Cage quoting Coomaraswamy. I wanted abstract images that had the specicity of real things. It was my interest in realism that led me to Gilles Deleuze. He was able to construct a believable model; a logical genesis of form, which described virtual, even spiritual entities. Painting is one way to visualize those other possible states. TERRY WINTERS 1

for Winters, abstraction holds a key to the mystery of evolutionary originsorigins revealed to us in the advanced mathematics of chaos and complexity theory and the other possible states of Painting. for him nature is not only ora and fauna but the deeper principles on which the world is structured.

o
If PSychedelIc art had become the actual folk art of an isolated community, say in the hills of north california, and this
Terry Winters, Hexagram / 1, 2010 Graphite, gouache, acrylic, ink on paper, 22 1/8 x 29 3/4 inches
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little 1968 Shangri-la had lived on unvisited by the outside world for several centuries, you would expect their art to have remained psychedelic but to have evolved, been rened and rectied, become intricately craftier and more anonymously baroque over generations of tribal tradition. In effect, youd expect something like a picture by fred tomaselli. In 1968, I was twenty-three years old and thus can claim to be of that generationwas a conscientious objector to the Vietnam War, went to India, etc. I made bad sixties art at the time, but in any case quite enjoyed myself. Very sub-beardsleyesque and pseudo-orientalistic it was. but tomaselli, in relation to sixties art, is like the nal homer who set in letters once and forever an ancient family hoard of epics handed down over ve hundred years by blind harpists and tribal bards all called Homer. tomaselli is our shaman, and our arcimboldo, the lSd generations house-artist, of course now slightly amused, always, by how much has gone down, but also always (once again) ecstatic. Sees all, Knows allbut is not bored.
[My] work was initially inspired by the pre-modern ideal that painting is a window to another reality, a vehicle of transportation to the sublime and the transcendent. The rhetoric of psychedelia and various strains of alternative culture happen to posit similar values, and the parallels between the two worlds intrigue me: escapism, altered consciousness, pleasure, beauty, desire and seduction, as well as the consumption of fetishistic commodities dependent upon surplus wealth and leisure time. Fred Tomaselli 2

Fred Tomaselli, Coldframe, 2011 Leaves, acrylic, resin on wood panel, 30 x 24 inches
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My love of nature has been a big part of my life since I rst discovered that it wasnt a cultural fabrication. This is going to sound strange, but I didnt nd this out until I was a teenager while hiking with some friends. We eventually came across a waterfall and I promptly began searching for the conduit that made it run. It blew my mind that it ran without power or plumbing! I found out that nature was real and not just a construct. As a result, I slowly morphed into an amateur naturalist and casual birder and began collecting a library of various eld guides. I guess it was only a matter of time before they found their way into the work. Fred Tomaselli 3

them illegal. Imagine: icons that are also reliquaries, containing edible body parts of vegetable saints, forbidden by the babylonian ugly Spirit, the eternal mind Police.

o
I entered the world of Philip taaffe via his work with marbled paper; in writing about the subject for him, I was able to convince myself that marbling is historically a hermetic art or craft, derived via turkish Susm from chinese taoism, in which an artist can divine or dowse the essence of a single moment or slice of the tao, removed from the eternal creative ux and printed on water. the crafts introduction into europe was now effected by rosicrucians from Germany and Italy. meanwhile, I saw Philip taaffe making the biggest and most dynamic marblings in the whole history of the art. Natura naturans, nature naturing, provides the yin essence of marblingthe yang is applied by the artist, in removing the single moment from its watery chaos and lifting it onto paper, subliming it and yet also xing it like a buttery pinned to a board. certain artists one admires without necessarily ever wanting to own one of their works (francis bacon, perhaps). but other great artists are at once more personal, as if theyd shared with you some now-forgotten dream or drug experience. one is at home in their work, no matter how far out it goes, because of this mutual oneiromantic identication, this invisible golden chain (as Peter brook called it) between artist and viewer, that seems to transcend time. This art one wants to appropriate because it already seems to belong to you. Its already on your wall. Philip

certain extra-formal aspects of art cannot be ruled out as irrelevant to our experience of that art or to our understanding of it. a visitor from alpha centauri would not know that tomasellis paintings actually contain real pills, maryjane leaves, spore prints, or whateverreal illegal drugs. but we earthlings cannot fail to consider this witty provocation when thinking about tomasellis works. to own one of his paintingsif the feds ever wanted to make an issue of itwould be, simply, a crime. Is a crime, actually. this fact adds nothing formal to tomasellis art. but, oh, how much it adds, lets say, conceptually. how much weight? What an aura. If proof were needed, contra all the puritan anti-drug fascists and priests, that genuine mystical drug states are accessible via entheogenic drugs and various (illegal) ditchweeds, then we could enter tomasellis paintings as evidence. the point is that if drugs could not do this then there would be no reason to make

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taaffes orientalismo, for example, achieves this personally for me because of a shared vision, and precisely because all fear of appropriation of an imagined east has been trumped by the intense love of pure pattern and color. note: I call orientalismo the kind of romantic view of the east shared by both Western romantics and eastern romantics, a sense that one can be exotic in a positive way, even to oneself at times, that one is different, and that difference is erotic. this is not the colonial gaze, it is not appropriation, as cultural warfare. It is (as Jean Genet put it) to be a Prisoner of love. this love is comparable to Surrealisms mad love, because it is boundless and not limited by accident; this is the link noted by Syrian poet adonis in his comparison of Susm and Surrealism. according to hermetic doctrine this love or attraction lies at the root of the cosmos itself, that matter and spirit nally cannot be distinguished from one another in the eternal creativity of divine play. this identity was afrmed by German naturalism and romantic ScienceGoethebut before him by novalis. It was re-reafrmed by Surrealism, in its discovery of alchemy and magic. Its the eternal avant-Garde, the aesthetic vision of blakes everlasting Gospel.
Essentially, everything in my work is about a process of description. My attitude towards repetition has to do with the cumulative effect of continuous applications of line and color. If we focus on that, and see them as crystallized into patterns or marks, what do they add up to? They become some kind of actively structured eld. I see that as being an entrance to a trance-like state. Im interested in inviting the possibility for ecstatic

Philip Taaffe, After Alcyonaria I, 2011 Mixed media on canvas mounted on panel, 30 7/8 x 40 3/4 inches
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experience, for getting outside of stasis. My roots are from Ireland, and I suppose a subtext to my work must relate to these Celtic shamanistic traditions. The work is also about movement, or how we see in a constant series of glimpses. What do I want my art to accomplish? What do I expect it to be like as a physical encounter? I think the best thing one can hope for is to be able to enter into another world. Philip Taaffe 4

III.

that other World taaffe refers to would of course be the Mundus Imaginalis, according to the philosopher henry corbin, the world of archetypes, or the creative Imagination. nothing could be more germane to our consideration of all three artists ascan we say, deeply inuenced by hermeticismor would it be fair to call them something like the new hermeticists? nowadays, most artists and writers shun the label avant-garde and refuse to belong to any movement or schoolbut for me hermeticism is, indeed, the eternal avant-garde, the everlasting rebellion of love and beauty against oppression and enforced stupidity. Paracelsus takes up the defense of the Imagination, probably from Su sources, and passes it on to the naturephilosophers, poets and painters of romanticism, who pass it on to the Surrealists, and to Psychedelicism and beyondto our three painters. In the other world there is always an image (or emblem) even when that image is of an abstraction. the swirling chaos of marbled paper or n-dimension topology of knots, or hypnogogic patterning under the inuence of various phantasticathese too are images of formlessness or emerging form and thus meaningful to the alchemist.
Philip Taaffe, Aspidium, Aspenium, Pteris, 2011 Oil pigment on canvas, 39 x 63 1/2 inches
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all three artists have in common, not their style, but an obsession with becomingwith growth forms and embedded patterns in nature. In the tradition of Goethe, they act as artists to save nature from science. they poeticize science, to quote novalis again. like many of our generation, they equate spirituality not with organized religions and their dogmatic hyperdoxies, nor with new age vapidities, but with shamanism, a universal primordial spirituality that belongs to the entire tribe and to each individual, so to speak, and not just to the priests and kings. With this pre-modern gesture (as tomaselli put it) all sorts of lost and damned material can begin to make a reappearance. Pragmatism and modernism fetishize the rational and efcient. alchemy is the discipline that links science to the arts herenot necessarily the old alchemy of transmutation (although that plays a role), but more urgently, the new alchemywhich can include anything from cymatics to hallucinogens to bioremediation. the fact that all these artists might make actual references to actual hermeticistsfrom dr. dee and edward Kelly to manley hall and various weirdnesses of Southern californiathis is less interesting to me than the new hermetic Paradigm, freed from the tyranny of the image as total control. the new art once again seeks to reconcile microcosm and macrocosm, to restore cosmic health and experience matter and spirit at-onedas above, so belowto quote the Emerald Tablet of Hermes Trismegistus.

noteS

1. terry Winters, unpublished interview with the author, december 12, 2007 2. fred tomaselli, my chemical Sublime, printed in Monsters of Paradise (edinburg: fruitmarket Gallery, 2004), p. 43 3. Ian berry, Knowing nothing: a dialogue with fred tomaselli in fred tomaselli (munich: Prestel, 2009), p. 57 4. Philip taaffe, Interview with hillary Stunda, The Aspen Times, august 1, 1999, 11-b

Peter lamborn WIlSon is an artist, poet and scholar of

Susm and Western hermeticism, and a well-known radicalanarchist social thinker. he is the author of Green Hermeticism: Alchemy and Ecology with christopher bamford and Kevin townley, and of Sacred Drift: Essays on the Margins of Islam, and Escape from the Nineteenth Century. he edited Avant Gardening: Ecological Struggle in the City & the World with bill Weinberg. In recent years he has contributed numerous essays on the work of Philip taaffe and terry Winters to gallery and museum catalogues in the united States and europe. his most recent book of poems is Ec(o)logues: A Neo-Pastoralist Manifesto.

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PHILIP TAAFFE

born 1955, elizabeth, nJ lives and works in new york, ny While taking his cues from diverse cultural sources Philip taaffe energizes each work through inspiration drawn from architecture, anthropology and art history. taaffe has explored techniques as diverse as paper marbling, decalcomania, linocut, and gold leafing. his literary and artistic collaborators have included William burroughs, Paul bowles, mohammed mrabet, and Stan brakhage. nature printing is one of the many approaches he has studied and honed to expand his paintings and prints. taaffe has participated in international exhibitions for several decades, including the carnegie International (1991), the biennale of Sydney (1996) and the biennial exhibitions, Whitney museum of american art, new york (1987, 1991, 1995), with individual survey exhibitions at IVam, Valencia (2000), Galleria d'arte moderna, San marino (2004), the Kunstmuseum Wolfsburg (2008). his work is included in numerous public collections, including the museum of modern art, new york; the Philadelphia museum of art; the Whitney museum of american art, new york; the Solomon r. Guggenheim museum, new york; the San francisco museum of art, and museo nacional reina Soa, madrid. Anima Mundi, a ten-year survey of his work (20002010) has been organized by the Irish museum of modern art in dublin (march 22June 12, 2011). he studied at cooper union, new york, ny.
Philip Taaffe, Composition with Ornamental Fragments IV, 2011 Mixed media on board, 36 x 24 inches
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FRED TOMASELLI

born 1956, Santa monica, ca lives and works in brooklyn, ny an encyclopedic interest in popular culture and art history informs fred tomasellis approach, as does his engagement with the world around him through gardening, kayaking, and bird-watching. leaves from his own garden are the rst layer in the composition of Coldframe. his recent mid-career survey opened at the aspen art museum in aspen, co (2009), and traveled to the tang museum at Skidmore college in Saratoga, ny, and the brooklyn museum of art in brooklyn, ny (2010). his work has been included in solo exhibitions at White cube, london, and James cohan Gallery, new york. Fred Tomaselli: Monsters of Paradise originated at the fruitmarket Gallery, edinburgh, Scotland (2004) and traveled to domus artium, Salamanca, Spain; the Irish museum of modern art, dublin; and the rose art museum of brandeis university, Waltham, ma (2005). his work has been included in numerous group exhibitions such as the 17th biennale of Sydney, australia (2010); 2004 biennial exhibition, Whitney museum of american art, new york; and The Heavenly Tree Grows Downward: Selected Works by Harry Smith, Philip Taaffe and Fred Tomaselli, James cohan Gallery, new york (2002). tomaselli earned his ba in Painting and drawing from california State university, fullerton, ca.

Fred Tomaselli The Dust Blows Forward, The Dust Blows Back, 2011 Photo collage, acrylic, resin on board, 24 x 24 inches
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TERRY WINTERS

born 1949, new york, ny lives and works in new york, and columbia county, ny nature has been a source for Winters beginning with works inspired by John cages studies in mycology, ecological systems, indeterminacy and chance. his studies in architecture, both indigenous and formal, inform the structural underpinnings of his work. throughout his career he has explored topics ranging from biological processes, scientic and mathematical elds, to the interaction of information technologies and the human mind. he delves deeply into process and material in his paintings, prints, and drawings. Winters has exhibited extensively, and his work is included in important collections in the united States and europe. he has had seven solo exhibitions at matthew marks Gallery, most recently showing his Knotted Graph paintings in 2008. other solo exhibitions were presented by the Jablonka Galerie at the bohm chapel, hurth (2010); the Irish museum of modern art in dublin (2009); the metropolitan museum of art in new york (2001); and Whitechapel Gallery in london (1999). the survey exhibition Terry Winters: Paintings, Drawings, Prints 1994 2004 originated at the addison Gallery of american art in andover, ma, and traveled to the contemporary arts museum houston, and the museum of contemporary art in San diego (2004). Winters received a bfa from Pratt Institute, brooklyn, ny.

Terry Winters, Wave Hill, 2011 Oil on paper mounted on composite board, 32 1/8 x 44 1/8 inches
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PUBLISHED IN CONJUNCTION WITH THE EXHIBITION

a l c h e m y & I n q u I ry
PhIlIP taaffe, fred tomaSellI, terry WInterS APRIL 3 JUNE 19, 2011 AB OUT WAVE HILL Wave Hill is a 28-acre public garden and cultural center in the Bronx overlooking the Hudson River and Palisades. Its mission is to celebrate the artistry and legacy of its gardens and landscapes, to preserve its magncent views, and to explore human connections to the natural world through programs in horticulture, education and the arts.
COVER: Terry Winters, Hexagram / 3, 2011, (detail)

WAVE HILL
675 WEST 252ND STREET BRONX, NY 10471- 2899 TEL 718.549.3200 WWW.WAVEHILL.ORG

Graphite, gouache, acrylic, ink on paper 22 1/2 x 30 inches

PHILIP TAAFFE: COURTESEY OF GAGOSIAN GALLERY, NEW YORK FRED TOMASELLI: COURTESY OF JAMES COHAN GALLERY, NEW YORK/ SHANGHAI TERRY WINTERS: COURTESY OF MATTHEW MARKS GALLERY, NEW YORK

DESIGN: THE GRENFELL PRESS, NEW YORK PHOTOGRAPHY: P. 4, 10, 19, 30 ERMA ESTWICK P. 6 TWO PALMS PRESS P. 2, 8, 22, 25 JEAN VONG P. 14, 17 RON AMSTUTZ P. 28 TOM POWEL P. 32 UNIVERSAL LIMITED ART EDITIONS ALL WORKS ARE COPYRIGHT OF THE INDIVIDUAL ARTIST
SUPPORT FOR WAVE HILLS VISUAL ARTS PROGRAM IS PROVIDED BY THE LILY AUCHINCLOSS FOUNDATION, INC., MILTON & SALLY AVERY ARTS FOUNDATION, THE GREENWALL FOUNDATION, AND THE NEW YORK STATE COUNCIL ON THE ARTS, CELEBRATING 50 YEARS OF BUILDING STRONG, CREATIVE COMMUNITIES IN NEW YORK STATES 62 COUNTIES.

PUBLICATION COPYRIGHT 2011 WAVE HILL ESSAY COPYRIGHT 2011 PETER LAMBORN WILSON EDITION OF 3000 ISBN 978-0-9831098-1-5

TARGET FREE DAYS TARGET SPONSORS FREE TUESDAY AND SATURDAY MORNING ADMISSION TO WAVE HILL, PROVIDING ACCESS TO THE ARTS IN OUR COMMUNITY.

Fred Tomaselli, Bloom #2, 2011 Gouache on photogram, 14 x 11 inches

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Wave Hill
675 West 252nd Street Bronx, NY 10471- 2899 718.549.3200 www.wavehill.org