Time Visa

June Wayne, Visa Series
35 x 25 in. (88.9 x 63.5 cm)
Color lithograph printed by John Maggio on Wayne’s own Rives with mushroom watermark.
Edition of 14, 1973.

SELECTED EXHIBITIONS
Neuberger Museum of Art, 1997; Pomona College, 1978; Franco-American Institute, 1978; Palm Springs Desert Museum, 1977; Cypress College Fine Arts Gallery, 1977; Artemisia Gallery, 1975; University of New Mexico Art Museum,1975; Galerie La Demeure, 1974; Muckenthaler Cultural Center, 1974; Van Doren Gallery, 1974; Los Angeles Municipal Art Gallery, 1973.

SELECTED COLLECTIONS
Bibliothèque Nationale de France, Brodsky Center, Grunwald Center, National Gallery of Art.

COMMENTS
"The idea of the fingerprint arose, in part, from the extraordinary physical similarity between the pattern of a fingerprint and the pattern of oxidation on a zinc plate; also from the paradox that the fingerprint, unique to each person, helps the state to identify you.” (June Wayne, from “A Catalogue Raisonné 1936-2006, June Wayne - The Art of Everything” by Robert P. Conway).

Our personal identity markers including fingerprints, DNA, and general appearance, do not change over time. Whatever our individual evolution and transformation of understanding, our body continues to signal an unaltered person. For purposes of State surveillance and control, time is frozen at the point of biometric capture.

Evidencing once again her unparalleled creativity in printmaking, Wayne laid pieces of torn paper onto the inked plate just before printing each impression of Time Visa. This process accounts for the tiny islands of uninked white paper in the print.