By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
Chisman is principally known for his paintings, but for more than three decades, he has also forged a reputation as a printmaker. In the triumphant display at 1/1, Dale Chisman: Jazz, his first solo effort since 1995, Chisman is represented by some twenty prints, most of them monotypes.
The Jazz show stands out in a crowded field of quality exhibits this winter season. And perhaps in part due to its clever theme--the pieces are named after America's great jazz musicians--it's also a runaway commercial success. Nearly half the works on display have already been sold, says gallery director Bill Havu. "It's been hard to keep the show together until it closes," he adds. "Collectors want to take their pieces home now."
The pieces in the exhibit were commissioned by Havu, who clearly guessed correctly about the public demand for Chisman's work. To fill the order, Chisman worked, as he has so often in the past, at Denver's Open Press printing studio. Teaming with Open Press master printer Mark Lunning, he conducted two sessions, the first in June 1996, the second in December. During the first session, Chisman produced the small prints that make up the "Jazz" series. In the second round, he reworked several of the smaller "Jazz" prints and also created four larger pieces--made possible when Open Press acquired an oversized press with a printing bed measuring more than three feet by six feet.
Havu points out that the "Jazz" prints recall the high-concept album covers of the 1950s and '60s, in which modern art was an integral part of the graphic design. But Chisman says the jackets of those classic LPs weren't his inspiration. "When I completed the prints, they just felt like jazz," he says. "That's why I went to the names."
The "Jazz" title was also intended as a tip of the hat to twentieth-century modern master Henri Matisse, who created his own "Jazz Suite." A few years before Matisse died in 1954, he suffered a stroke that made it impossible for him to wield a brush. However, he did not give up making art, working from his hospital bed to create collages of cut or torn paper instead of paintings. These works, ignored in their day, are now regarded as some of Matisse's greatest accomplishments for the way they anticipated future art trends. And the most prominent of these cut-paper pieces are those from Matisse's "Jazz Suite." "In my 'Jazz' prints, I used cut-out shapes and created a tension of negative and positive spaces," notes Chisman--just as Matisse did.
Chisman's "Jazz" prints reveal several different directions for the artist. While some are reminiscent of his paintings, repeating his signature red-yellow-blue palette, others feature acid tones of green and brown, unexpected from the artist. "I'm trying to do something different with the colors in the small prints," he says. "I'm always trying to experiment. I can't do the same old stuff over and over, because I get tired of it."
Chisman has also expanded his repertoire of shapes, using circles and geometric forms more conspicuously than usual. But he says the shapes aren't meant to evoke narrative meanings--they're "just formal elements, nothing more."
Blue circles dominate the monotype "Byrd" (an altered spelling of revered saxophonist Charlie Parker's nickname) and its companion piece "Jazz." But by varying the position of the circles--and by radically changing the color fields on which they're placed--Chisman produces two distinct yet closely related pieces. The circles in "Byrd" are linked by a heavy graphite scribble and laid against a brick-red ground; the spheres in "Jazz" are placed on a mustard color field, with the scribble off to the side. In both prints, Chisman has masked out some areas by laying paper strips over the base paper and then peeling up the strips after the print goes through the press. This leaves areas of the paper free of ink. Untinted paper shows through in "Jazz," while in "Byrd," Chisman has printed over the masked areas in a burnt orange.
Several other pieces also rely on these fascinating rhythms of inked areas and blank ones. Two of the most striking prints in the "Jazz" series rely heavily on the technique: "Train," a monotype and collage, and "Lionel," a monotype. In "Train," a tribute to saxophonist John Coltrane, Chisman employs an olive-green field and masks out a jagged shape on the right side. Softening the boundary between the field and the masked portion is a torn piece of beige paper used as a collage element. In "Lionel," which creates vibes worthy of namesake Lionel Hampton, several vertical shapes are placed across the center of a chartreuse ground.
Not much is going on in these prints--but it's just enough. Chisman says he was "trying to simplify, using simpler shapes and making the prints not as cluttered." It's a new approach for an artist whose work typically falls into the abstract-expressionist camp. But Chisman is attracted by the purity of the unadorned color field, the standard of the minimalists. The most extreme case is "No. 2 Billy," his ode to Billie Holiday, a monotype and collage in which a field of vibrant electric blue fills the entire picture plane. In the center, Chisman has added some light, graphite scribbles that are barely visible.