Gagosian presents Etched Letters from October 10 to November 29 at Burlington Arcade in London. The exhibition includes editioned prints, unpublished proofs, and drawings created by Brice Marden between 2007 and 2012. The Estate of Brice Marden collaborates on this presentation, and it marks the first focused display of his prints in London. The exhibition also reflects Marden’s long dedication to printmaking, a practice he started in the 1960s and continued exploring throughout his career.
Inspiration and Early Development
The origins of Brice Marden Etched Letters connect with his travels during the international tour of his MoMA retrospective in 2006–07. During a visit to Taipei, he encountered a Song dynasty poem titled Seven-character Poem (Besotted by Flower Vapors) by Huang T’ing-chien. The balance between calligraphy, rhythm, and empty space inspired the first drawings that later evolved into the Letter series. Still, that influence remained present in later stages of the project.
Artwork Example
Brice Marden, Etched Letter #8, created between 2007 and 2012 using etching and aquatint on Somerset textured paper. Edition of 45 plus 15 artist proofs.
Courtesy of Gagosian and the Estate of Brice Marden. Photo: Maris Hutchinson.
Technical Process and Collaboration
Beginning in 2007, Marden collaborated with master printmaker Jennifer Melby. Together, they developed etchings based on the Letters of Gratitude drawings. These drawings were originally made as gestures of appreciation during the preparation period of the MoMA retrospective.
Later, printmaker Lothar Osterburg transferred the drawings onto copper plates using photogravure. This step preserved the tonal depth and texture of the original drawn lines. Marden then continued refining the plates by hand, adding aquatint and working through multiple proofing stages. As a result, three final editions appeared: First Etched Letter (#1, 2011), Plate #3 based on Letter of Gratitude #1, and Plate #8 based on Letter of Gratitude #17.
Language, Gesture, and Structure
The final works appear almost like a coded writing system. The ink-dipped sticks used in the drawing process introduced irregularity and unexpected shifts in weight and movement. Yet the final compositions still balance abstraction, calligraphy, and geometry, creating a visual language that feels both internal and structured.
Publication and Related Material
Gagosian and the Estate of Brice Marden are currently developing a new publication expanding on the Tate catalogue from 1991. The new edition includes prints made after that date and features an essay by Jeremy Lewison. Readers can also find related publications, including Works on Paper, at the Gagosian Shop.
Visit Information:
Gagosian, Burlington Arcade
28–29 Burlington Arcade, London W1J 0QJ
Hours:
Monday–Saturday, 10–6
Contact:
+44 20 7841 9962
london@gagosian.com
Source:
Original announcement courtesy of Gagosian: gagosian.com
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