Standoff

June Wayne
Lithograph
Lithograph printed by Serge Lozingot and published by Tamstone on Wayne's own Rives with Tamstone watermark.
22½ X 24½ in. (57.2 X 62.2 cm)
Editions of 25, 15, and 50;

SELECTED EXHIBITIONS
Neuberger Museum of Art, 1997 (illus.); Palm Springs Desert Museum, 1977; Cypress College Fine Arts Gallery, 1977; Rubicon Gallery, 1977 (illus.) and January 1977; Artemisia Gallery, 1975; Galerie La Demeure, 1974 (illus.); Muckenthaler Cultural Center, 1974 (illus.); Van Doren Gallery, 1974; Los Angeles Municipal Art Gallery, 1973 (illus.); Gimpel and Weitzenhoffer, 1972; Plone Associates and Grunwald Foundation, 1970-71.

SELECTED COLLECTIONS
Achenbach Foundation, Bibliothèque nationale de France, Brodsky Center, Grunwald Center, Los Angeles County Museum of Art, Smithsonian American Art Museum

COMMENTS
The titles of these (three) prints suggest the difficulties involved in deciding guilt or innocence. All (three) states combine the DNA necklace with the cliff face over which lemmings throw themselves, a combination first used in Choker. The red, white, and blue of the second state add an intentional comment on the genetic component of patriotism.

"With these (three) states, I was symbolically and aesthetically exploring the impact of the genetic code on our lives, especially its mindless indifference to us as individuals. The titles of these prints also link my Justice Series with the genetic prints, positing us, for better or worse, as predetermined accidents or as random events in daily life, even when we are experiencing ecstasy or disaster. We think we know a lot about ourselves, including insight into our own molecules. We even try to manipulate them. Thus my genetic code prints expand the Justice Series by adding a bit of science to the mix."

— Robert P. Conway, A Catalogue Raisonné 1936-2006, June Wayne - The Art of Everything, Rutgers University Press.