Artwork
Untitled
Untitled is an ink print by Greg Colson. It dates from 1995 and is held in the collection of the Museum of Modern Art.
About this work
Overview
The works are held in the collection of The Museum of Modern Art, where they are presented as a single unit.
Untitled is a portfolio of eight etchings with chine collé, produced by Greg Colson in 1995. Each print is part of a cohesive series, unified by its monochromatic palette and textured surface. The works are held in the collection of The Museum of Modern Art, where they are presented as a single unit. The series reflects Colson’s interest in urban infrastructure and the visual language of construction sites.
Subject & Meaning
The images depict fragmented cityscapes dominated by high-rises and construction cranes, rendered without clear perspective or scale. The title 'Dockings' appears only once, suggesting a focus on temporary structures or transitional spaces. The rough, hurried lines evoke impermanence and labor, implying the constant reshaping of urban environments rather than celebrating their finished forms.
Technique & Style
Colson employed etching and chine collé to build layered, tactile surfaces. The black-and-white imagery combines sharp, incised lines with smudged, uneven areas created through ink manipulation and paper layering. The effect is deliberately unstable, edges blur, textures clash, mirroring the chaotic energy of construction zones. The technique prioritizes material presence over precision, emphasizing process over polish.
History & Provenance
Created in 1995, the portfolio entered The Museum of Modern Art’s collection shortly after its production. No public record indicates prior ownership or exhibition history beyond its acquisition by the museum. Its inclusion in MoMA’s print department aligns with the institution’s interest in post-1960s conceptual printmaking that challenges traditional aesthetics.
Context
Colson’s work emerged during a period when artists increasingly turned to urban decay and infrastructure as subject matter. His prints respond to the visual noise of late-20th-century cities, where construction and demolition occurred simultaneously. The series avoids political commentary, instead focusing on the aesthetic residue of labor, dust, scaffolding, and transient forms.
Legacy
The portfolio remains a quiet but significant example of contemporary printmaking that redefines etching as a medium for capturing urban flux. It has not been widely reproduced or exhibited since its acquisition, but its inclusion in MoMA’s collection ensures its place in discussions of postmodern print practices that favor ambiguity over clarity.
Artist & collection
