Artwork
Untitled
Untitled is an ink print by Alan Shields. It dates from 1971 and is held in the collection of the Museum of Modern Art.
About this work
Overview
Created in 1971, this screenprint by Alan Shields combines printmaking with hand-altered paper techniques. Made on perforated, cut, and sewn paper, it merges industrial processes with manual intervention. The work resists conventional framing, presenting a textured, irregular surface that emphasizes its physical construction. It is part of the collection at The Museum of Modern Art.
Subject & Meaning
The work lacks a representational subject, instead exploring abstraction through color and material. Its arrangement of geometric shapes suggests a fragmented structure, evoking patterns found in textiles or mosaics. The absence of clear narrative invites focus on the interplay of form and process, reflecting Shields’ interest in non-traditional modes of artistic expression.
Technique & Style
Shields employed screenprinting with dye on layered paper, then altered the surface by cutting, collaging, and stitching. The perforations and uneven edges reveal the hand of the artist, contrasting with the precision of the printed grid. The use of sewing introduces textile methods into fine art, blurring boundaries between craft and painting.
History & Provenance
This piece was made during a period when Shields was experimenting with non-traditional materials and methods, moving away from conventional painting.
This piece was made during a period when Shields was experimenting with non-traditional materials and methods, moving away from conventional painting. It entered The Museum of Modern Art’s collection in the early 1970s, reflecting the institution’s interest in expanding definitions of printmaking and sculpture. Its construction aligns with broader 1970s explorations of materiality in American art.
Context
Emerging from the post-minimalist art scene, Shields’ work responded to a growing interest in process, imperfection, and craft. His use of sewing and collage paralleled feminist and fiber art movements, though he operated outside those circles. The work reflects a broader shift in the 1970s toward hybrid media and the deconstruction of artistic hierarchies.
Legacy
Shields’ integration of textile techniques into printmaking influenced later artists exploring materiality and non-traditional surfaces. His approach challenged distinctions between painting, sculpture, and craft, contributing to expanded definitions of print media. This work remains a significant example of 1970s experimentation with handmade aesthetics in institutional contexts.
Artist & collection
Artist
Alan J. Shields was an American painter, and for a time during the 1980s, had a secondary career as a commercial boat operator, including as ferryboat captain.
