Adriane Herman at Western Exhibitions (Chicago)

Adriane Herman, Home (2012). Double-sided lithograph. 31.5″ x 21.75″, 37” x 27” framed. Edition of 10. Image courtesy of the artist and Western Exhibitions.

If you get a voyeuristic, guilty pleasure kick out of the pop culture paraphernalia of Davy Rothbart’s Found Magazine, you’ll probably also be really excited about a parallel project in Adriane Herman‘s fine art work. This is the last week for a great show of Herman’s prints at Western Exhibitions in Chicago (it closes June 30th), which is a continuation of Herman’s witty and provocative series of found and reprinted lists and notes. Herman is currently an Associate Professor at Maine College of Art in Portland, and has an MFA in printmaking from the University of Wisconsin-Madison (1997). She describes her work as ” art that explores the culture of consumption,” and says that “studying other people’s ‘to do’ lists allows me to trace the seemingly alchemical trajectory from intention to action.” [1]

Herman utilizes a wide range of print processes to reproduce her collection of found notes and lists. The most striking aspect of the installation is Dually Noted, a wallpaper installation created collaboratively with Brian Reeves (who also has an MFA from UW-Madison, 1997), which consists of a tromp-l’oeil grid of ink-jet reproductions of lists from Herman’s vast archive. Home is a double-sided lithograph on transparent Japanese paper; a hand-written list of items the writer wished to retrieve from his mother’s house after she passed away. The screenprint Passion Aggression is a micro-managing, bossy list of tasks signed sweetly, “Have a nice day. Love, Mom.”

Adriane Herman and Brian Reeves, detail of Dually Noted tiled wallpaper, (2012). Archival dye-jet prints. Each sheet: 27″ x 20″ Edition: 100. Image courtesy of the artist and Western Exhibitions.

Installation view at Western Exhibitions: from left to right, Passion Aggression, Coping Mechanics, Home

Adriane Herman, Passion Aggression (2011). Screenprint on white Rives BFK. 18.5” x 16” 23” x 21” framed. Edition of 20. Image courtesy of the artist and Western Exhibitions.

Adriane Herman and Brian Reeves, installation view of Dually Noted tiled wallpaper, (2012). Archival dye-jet prints. Each sheet: 27″ x 20″ Edition: 100. Image courtesy of the artist and Western Exhibitions.

Installation view of Free Please Take hanging on Dually Noted wallpaper.

Adriane Herman, Free Please Take! (2012). Photo etching with surface roll on paper. 14” x 11”, 21” x 17” framed. Edition of 44. Image courtesy of the artist and Western Exhibitions.

Herman inspecting a print in 2010 (via Herman’s Flickr).

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Categories: Exhibitions


4 Responses to “Adriane Herman at Western Exhibitions (Chicago)”

  1. Hannah Skoonberg says:

    The “Free Take One” etching was printed at the University of Tennessee when we brought in Adriane in as a visiting artist. 😀

    Mixing the perfect shade of sticky note yellow to print on top of that tan paper was tricky business. And she used a cut out stencil and a large copper place to create a debossing(?) so it looks like it is sitting forward from the page.

  2. Dutes says:

    adrian is an absolute master. and so amazing

  3. Thanks for giving credit where it’s due, Hannah, it was such a treat to visit and print at UTK! That sticky note is a strange neony green that was indeed hard to replicate!

    Thanks also to Aaron Wilson+Tim Dooley at the University of Northern Iowa for their masterful work on “Passion Aggression” when I got to visit Cedar Falls; likewise thanks to Robert Glasgow, Anita Jung and their amazing students for their work on “Home,” which is double sided because a student asked if I was going to print both sides of the list when I showed the original list among others from my collection.

    Huge thanks also to Brian Reeves for his inspired collaboration on “Dually Noted,” and for his help with “Coping Mechanics,” on which Rachel Sperry, Keith Johnson, Stan Shellabarger, and Keith Fitzgerald of Portland’s Zero Station helped a great deal too! Finally shouts out to Scott Speh of Western Exhibitions for encouraging the wallpaper installation and unpacking and hanging everything, and to Virginia Sassman Rose of Rose Contemporary for curating a show called “Space Invaders” that occasioned “Coping Mechanics.” I am increasingly aware of how exhibition opportunities, particularly thematic group shows, can engender work that might not exist otherwise.

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