Who painted Untitled?

Untitled was painted by John Goodyear in 1965.

Where can I see Untitled?

Untitled is held by Museum of Modern Art.

Artwork

Untitled

John Goodyear , 1965

Untitled is an ink print by John Goodyear. It dates from 1965 and is held in the collection of the Museum of Modern Art.

About this work

Overview

This work exemplifies Goodyear's mid-1960s exploration of the printed object as a dynamic, manipulable entity rather than a static image.

Created in 1965, John Goodyear's Untitled is a double-sided sheet featuring bold geometric and jagged forms cut from the paper surface. Printed in vibrant red and black ink, the work belongs to a portfolio of seven screenprints, two lithographs, and one offset lithograph that incorporates objects in various media. The piece is designed as a modular component intended to be folded, stacked, or worn as a mask, reflecting Goodyear's interest in the intersection of two-dimensional printmaking and three-dimensional interaction.

The cut-outs function as active negative spaces, allowing light and shadow to alter the visual experience of the sheet depending on its arrangement and the viewer's perspective. This work exemplifies Goodyear's mid-1960s exploration of the printed object as a dynamic, manipulable entity rather than a static image. By integrating physical manipulation with screenprinting techniques, the artist challenges traditional boundaries of the print medium, inviting the audience to engage physically with the artwork.

The piece remains a significant example of American printmaking from the 1960s that prioritizes process, interactivity, and the materiality of the printed sheet.

Subject & Meaning

The intersecting shapes and negative spaces generate a dynamic interplay of light and shadow, altering the visual experience as the sheet is turned or tilted. By foregrounding the materiality of paper and the act of viewing, the work suggests a dialogue between presence and absence, encouraging an awareness of how perception shifts with physical interaction.

Technique & Style

Goodyear employed screenprinting on both faces of the paper, then precisely excised the forms with a cutting tool. The use of bright, contrasting pigments emphasizes the graphic quality of the design, while the cut‑outs create a three‑dimensional effect despite the work’s flat substrate. This combination of print and sculptural alteration reflects a hybrid approach typical of mid‑1960s experimental printmaking.

History & Provenance

The piece belongs to a larger portfolio comprising seven screenprints, two lithographs, and an offset lithograph, each designed for potential folding, stacking, or even wearing as a mask. Acquired by the Museum of Modern Art, the work remains in the museum’s print and drawing collection, representing Goodyear’s exploration of interactive print media during that period.

Context

Produced amid the 1960s surge of participatory and process‑oriented art, the work aligns with contemporaneous interests in viewer involvement and the dissolution of boundaries between two‑dimensional and three‑dimensional objects. Its modular, manipulable nature resonates with the era’s broader experiments in kinetic and conceptual practices, situating Goodyear within a network of artists challenging traditional print conventions.