Nancy Graves Locks Gallery

Polytropos, 1982
oil on canvas
64 x 90 inches

Nancy Graves Locks Gallery

Simula, Lunar Orbiter Series, 1976
oil on canvas
64 x 76 inches

Nancy Graves Locks Gallery

Paleoaegyptus, 1982
oil on canvas
80 x 64 inches

Nancy Graves Locks Gallery

Out of Order, 1977
oil, graphite, encaustic on canvas
50 x 38 inches
Collection of the Weatherspoon Art Museum

Nancy Graves Locks Gallery

Riphaeus, 1976
oil on canvas
64 x 88 inches

Nancy Graves Locks Gallery

ABC, 1977
acrylic and oil on canvas, triptych
44 x 96 inches

Nancy Graves Locks Gallery

Vassei, 1976
oil on canvas
64 x 76 inches

Nancy Graves Locks Gallery

Ruis (Synecdoche Series), 1977
etching, aquatint, engraving, drypoint and pochoir with pastel on Arches Cover white paper
31 1/2 x 35 1/2 inches

Nancy Graves Locks Gallery

Untitled #9, 1976
oil on canvas
64 x 64 inches

Nancy Graves Locks Gallery

Ngetal (Synecdoche Series), 1977
etching, aquatint, engraving, drypoint and pochoir with pastel on Arches Cover white paper
31 1/2 x 35 1/2 inches

Nancy Graves Locks Gallery

Sund, 1976
pastel on paper
38 x 50 inches

Press Release

Locks Gallery is pleased to present Synecdoche, an exhibition of paintings, drawings, and prints by Nancy Graves (1939–1995) on view December 6th, 2013 through January 30th, 2014. There will be an opening reception for the exhibition on Friday, December 6th, from 5:30 to 7:30 pm. A catalog of the works will accompany the exhibition.

In Synecdoche, a collection of rarely seen works from the late 1970s will be exhibited in the first and third floor galleries. This exhibition examines a unique period of gestural abstractions in greater depth—work that expands on explorations of perception and visual representation central to Graves's art. With renewed interest in her career in light of a major retrospective in Germany, Locks Gallery is honored to continue a relationship that began in 1991 and has brought to light important contributions of her artistic legacy.

During the earlier half of the decade, Graves strayed from the dominant Conceptual, Minimal, and Pop Art movements and devoted her studio practice to visual research of scientific imaging. Based on a rigorous exploration of satellite maps, lunar photography, animal motion studies, fossils, and scientific illustrations, she quickly moved towards her own signature abstract language over the course of the decade. Within the few exhibitions these pieces appeared at during her lifetime, two of the paintings in her Lunar Orbiter Series from this period were exhibited at Documenta 6 in 1977. Synecdoche offers an opportunity to examine others in the series for the first time in decades, alongside her accompanying prints and drawings.

The two-dimensional works in Synecdoche represent a calligraphic exploration of these spatial abstractions; this nonrepresentational vocabulary would soon complicate itself into her densely layered works of the 1980s. In the 1977 etching series from which the show is titled, Graves reinterpreted her own 1972 lithograph series based on lunar maps that she translated into abstract pointillism. Referencing both her own work and the scientific image culture she immersed herself in, Graves explored our own perception of images and the world around us. Hailed by critics as subversive when she first exhibited her large life-like camels in the late '60s, Graves would later respond that the subversion in her work was "only an effort to change the way in which we see".

Graves was a prolific artist, moving fluidly between two-dimensional, three-dimensional, and time-based works. Most notably, she was the youngest woman to receive a solo exhibition at the Whitney Museum in 1969. Currently on view, a major retrospective of her work opened at the Ludwig Forum for International Art in Aachen, Germany, accompanied by an extensive scholarly catalog published by Hatje Cantz.