White Visa
June Wayne, Visa Series
54 x 72 in. (137.2 x 182.9 cm)
Color lithographs printed by John Maggio on Wayne’s own Rives with mushroom watermark.
Edition of 20, 1973
SELECTED EXHIBITIONS
Pasadena Museum of California Art, 2014; Pomona College, 1978; Franco-American Institute, 1978; Palm Springs Desert Museum, 1977; Cypress College Fine Arts Gallery, 1977; Artemisia Gallery, 1975; Van Doren Gallery, 1974; Galerie La Demeure, 1974; Muckenthaler Cultural Center, 1974; Los Angeles Municipal Art Gallery, 1973.
SELECTED COLLECTIONS
Bibliothèque Nationale de France, Grunwald Center, Brodsky Center.
COMMENTS
We live in a world of passports, visas, and now facial recognition, identifying us as we travel through international and even domestic borders. June Wayne was visionary in anticipating the broad implications of these markers.
"The Visa idea is based on the fact that a fingerprint is unique to each of us, and therefore makes it easier to hunt us down. The fingerprint imprisons us a priori as far as the state is concerned. I thought that if you made the image very large, it would loom up like a planet or a mirage against the sky. They derive from my own fingerprints, but I changed them because I didn’t want anyone to be able to catch me. I was aware of and frightened by the Hitler era.” (June Wayne, from “A Catalogue Raisonné 1936-2006, June Wayne - The Art of Everything” by Robert P. Conway).
