RITA ACKERMANN

Dr. Pamela Kort on Rita Ackermann’s exhibitions:

Splits: Printing | Painting In the thick of bringing to canvas the metamorphic forms that would become the ‘Splits,’ Ackermann embarked on a new artistic endeavor, delving into the realm of printmaking. In the resultant seven large-scale silkscreens, which she produced in collaboration with master printer Keigo Takahashi, her concern with making manifest such images became imbued with a related objective: the transformation of paintings into prints, without recourse to the reproduction of a model. Though these silkscreens diverge from the compositional principles of the ‘Splits,’ like them they probe the boundaries of optical perception. To emphasize this, the exhibition includes two recent paintings. One of these—‘The Rule of Nature’ (2023)—which belongs to the ‘Splits,’ even bears the marks of Ackermann’s concern with combining monotype printing with painting. Viewers who perceive that will nevertheless find it difficult to distinguish between the look of the other painting—‘Misfit’ (2023)—and the silkscreens.

This visual feat owes just as much to the artist’s decision to approach the making of these silkscreens as though she were working on a canvas, as to any sleight of the hand enabled by their production. Ackermann began by layering drawings onto paper and then gradually superimposed gestural brush strokes, color stains and delicate droplets of pigment onto the underlying drawings, welcoming the occurrence of accidents through this process. This not only made the contrast between emerging and disappearing forms integral to many of her paintings visible, but also conveyed a sense of the centrifugal motion that frequently ensues in them. As such, those who contemplate these first silkscreens by the artist may well find themselves questioning whether the alleged split between printmaking and painting is, in fact, purely theoretical.