'To attain this quiet meld of means and ends, Ryman intricately blends craftsmanship and invention—including surprising emphases—ignoring in his approach the historical uses of plate, stone and screen. Frequently, unheralded details become the centre of his attention, such as the "incidental" mark of the printing matrix (as well as its surface), or the character of the paper boundaries and tooth. For the artist, the function of the plate, stone screen, and sheet of paper, have no set conventions or pre-conditions, and each and every decision is of central rather than of marginal concern in the printmaking process. In face there is nothing in a Ryman print that is thought of as secondary.'
— Amy Baker Sandback
Krakow Witkin Gallery presents a brief survey of Robert Ryman's prints from his first 25 years of printmaking. While renowned for his paintings, his works on paper and prints have not been given the same attention, and yet his approach to making works is the same. Working with the particular characteristics of each medium and process, yet not limited by tradition, Ryman, from 1969 onwards, explored the outer reaches of making editions, all with a minimum of materials. Requesting viewers to pay attention, look closely and observe subtleties, Ryman's works both challenge a viewer and reward close looking. This exhibition has a special focus on the first aquatints Ryman made in 1972, which provided the opportunity to control the texture of his surfaces in ways that he would continue to explore for the rest of his career.
Press release courtesy Krakow Witkin Gallery.