Published by Tandem Press, Madison, Wisconsin

Lot Note:

Sam Gilliam challenged the foundations of every medium he put his hand to, and the print studio offered a playground of materials and techniques. He is perhaps best remembered for his experiments with color field painting in the 1970s. His canvases were draped and suspended – like the sheets hanging from the clothesline he could see outside his Washington studio – breaking away from the rigid forms of the stretcher that had dominated painting since the introduction of stretched canvas paintings in the sixteenth century.  

He began his career in the 1960s and ‘70s as part of the Washington Color School, coming to art during the tumultuous years of the Vietnam War and the Civil Rights movement. As a Black artist, Gilliam was largely ignored by the mainstream art world until late in his career. Nonetheless, he continued to interrogate materiality and its associations in African American culture. Though many of his Black contemporaries used easily identifiable imagery to speak to the Black experience, Gilliam was devoted to abstraction. His experiments included layered materials, collage, and overlaid forms in the composition that reference, for example, quiltmaking traditions. These experiments moved his editioned artworks away from their traditional place on a rectilinear sheet of paper, allowing each to be an encrusted and freestanding form with rich impasto and spontaneity.