MONDAY, MAY 11, 6:00–8:00
ON VIEW MAY 12 - JULY 18, 2009
VIEW PHOTOS from the exhibition
Wednesday, May 13, 6:30 pm
Grey Art Gallery, New York University
100 Washington Square East
Nathan Lyons, Director Emeritus,
Visual Studies Workshop, and curator
of the exhibition
For more information, visit www.nyu.edu/greyart or call 212/998-6780. To receive program reminders, updates, and changes via e-mail, visit the Grey’s website and click on “join our listserv.”
John Wood (born 1922) has consistently challenged traditional photography, often incorporating painting, drawing, and collage as well as cliché verre, solarization, and offset lithography. The artist emphasizes the role of drawing in his work: “Mark making, calligraphy, the kinetic motion of the movement of the hand, are very important to me; probably more important than anything else.” Transgressing the boundaries of “pure photography,” his eclectic practice has helped usher in alternative approaches to the medium. With their adroit manipulations of picture and text, his diaristic, multi-media compositions anticipate today’s digital imagery. On the Edge of Clear Meaning is Wood’s first museum retrospective, spanning his career from the early 1960s to the present.
Wood’s teaching, artmaking, and life are closely intertwined.
His early childhood was marked by the Depression, with his
family moving frequently as his father searched for employment.
In 1942 he volunteered for the Army Air Corps, where he trained as a B-17 pilot and learned sequence photography. Following war’s end, Wood discovered the experimental work of Lázló Moholy-Nagy and enrolled at the Institute of Design in Chicago. There he studied photography with Harry Callahan and Art Sinsabaugh. After graduation Wood moved to upstate New York, where he taught in the School of Art and Design at Alfred Univer-
sity for thirty-five years. He now lives in Baltimore, Maryland; he and his wife, Laurie Snyder, migrate each summer to their home and studio in Ithaca, New York.
John Wood: On the Edge of Clear Meaning was coordinated by
Nathan Lyons, Director Emeritus of the Visual Studies Workshop,
in collaboration with Marie Via, Director of Exhibitions, Memorial
Art Gallery, and Alison Nordstrom, Curator of Photography, George Eastman House.The presentation of John Wood: On the Edge of Clear Meaning at the Grey Art Gallery is made possible in part by the Abby Weed Grey Trust, the Ruth Davidson Abrams Endowment, and the
Grey’s Director’s Circle, Inter/National Council, and Friends.
John Wood: Quiet Protest
International Center of Photography
1133 Avenue of the Americas (at 43rd St.)
New York, NY 10036
(click on “museum”), 212/857-0000
Spanning the 1960s through 1990s, John Wood’s Quiet Protest series
explores political and social issues through photo montage—rather than documentary photography. Eschewing explanations or solutions, Wood’s manipulated photo-graphs present contemplative routes into issues ranging from the Vietnam War to domestic gun violence to ecological concerns.