“After a year of organizing solo or thematic shows that are more-or-less formal or rigorous, I think the summer is a good time for a fun, free-form, laid-back approach,” director Valerie Wade said in planning this 2018 summer season at Crown Point Press. In the exhibition’s title, “choices” is the operative word. We have not hesitated to mix generations, concepts, abstraction, and representation. “Spontaneous associations can happen when unlikely works are hung next to one another,” Valerie remarked.

Crown Point Press began in 1962—but you won't find works that early in this show. We did publish at first, but mainly printed for a New York publisher. In 1977, Crown Point began its current program with new etchings by Richard Diebenkorn. “Attempt what is not certain,” Diebenkorn advised me back then. We are still abiding by Diebenkorn’s advice.

On this sheet, we’ve illustrated a few examples of work you’ll find in this exhibition. Charline von Heyl’s Nightpack (Gothic), 2014, is a large aquatint, deep black forms that seem to be turning and shifting against a pale purple active background. William T. Wiley’s Charmin Billy is a photo image of a young boy, embellished in Wiley’s way. Anne Appleby’s Quaking Aspen is an aspen tree abstracted; and Chris Burden’s Arch Bridges is a beautiful example of his fascination with structure. They couldn’t be more different—and nevertheless they enhance one another. I hope you’ll check out this show. It’s great!

Text by Kathan Brown