The current installment of the Griffin Fisher Catalogue Raisonné presents just over [TK] documented works known to be by the artist and dating from 2017 through August 2022, the date of the artist’s death. It includes [TK] paintings, [TK] drawings, [TK] prints, [TK] sculptures, and [TK]. The absence of a work from this first installment does not necessarily mean that such work was not created by Griffin Fisher.
The majority of the artworks published here have been physically examined, either by the former or current authors. When it was not possible for us to inspect a work ourselves, we included any information regarding the object’s physical description provided to us by the owner or consignor after close review and consideration. Such information from outside sources is indicated in the Notes. [TK ???]
Over the course of our research on this project, we uncovered an enormous amount of new information about Fisher’s work, and these insights are reflected in the notes and commentary within many of the catalogue entries. Since this archival project was undertaken soon after the passing of the artist, we have the ability to use first hand knowledge of Griffin Fisher’s art practice. Most of the archiving was completed by Fisher’s partner, Andy Caira, with assistance and references from various friends and family. See the acknowledgements page for the full thanks.
Catalogue Number
Title
Date
Medium
Dimensions
Provenance
Notes
Commentary
Each work has been assigned a catalogue raisonné number that is prefixed by a letter signifying its media type, which serves as an identifier. The paintings are prefixed by the letter “P”; drawings “D”; posters, postcards and prints “Po”; collage and paper works “C”; sculpture and textiles “Obj”; videos and performances “V.” Two-sided works have an “a” (recto) and “b” (verso) appended to their number. Numbers appended with “x” indicate the work in question was painted over.
The numbers are sequenced by the year of the painting’s completion and follow a roughly chronological order.
Posters and prints are assigned by creation method as well as artistic intent. Some items in the posters collection were made with paint but were made with the intent of making photo copies and prints. While many of these works follow Fisher’s painting art practices at the time, they have been categorized under posters and prints for the purpose of assigning a catalogue number to them. Each work is fully searchable by medium and support.
The collage category includes works on paper that are neither prints nor drawings or paintings from sketchbooks. While Fisher used collage frequently in paintings, this category exclusively includes works on paper, occasionally featuring paint.
Fisher frequently painted on nontraditional materials. While assigning the media type for cataloguing purposes, we have taken the original intent of the work (whether it is a painting or an object) and categorized it as such. These objects that may bridge multiple media type categories will also be noted in the notes section and tagged: (assemblage, mixed media, etc).
Fisher also made use of numerous sketchbooks for drawing. We have assigned a master number for each known sketchbook, starting with D1000, and the extant sketchbook drawings in this catalogue raisonné have been documented individually. Some of these sketchbooks maintain their original binding, although Fisher removed sheets from them. Drawings were also separated from sketchbooks posthumously.
Since many have been removed,, we have not been able to completely determine from which sketchbook a drawing originated, but when its source has been identified, it is noted in the entry for that drawing. Unless stated otherwise, each sheet from a specific sketchbook has a corresponding number based on the known or surmised sequence of its pages. If we are unable to assign a loose sheet to a known sketchbook, it is stated in the entry for that drawing. As Fisher worked through a sketchbook, they often rotated it. We are illustrating the drawings according to the orientation of the image rather than in relation to the sketchbook’s binding. Only those pages with drawings by Fisher have catalogue entries. Complete PDF scans of journals and sketchbooks with remaining pages are also available.
Fisher gave titles to just over a few dozen of their works. In many instances, we have corrected and/or revised titles, have assigned new titles, or given descriptive titles to the many previously untitled works. In some instances, a newly assigned title will convey a work’s relationship to another work. In all cases, we have made obvious the origin of a work’s title as published in this catalogue raisonné.
All titles follow the exact spelling and style as printed in the source document. These archival documents may include correspondence, Instagram posts, grant and residency applications, online portfolio titles on artist’s site, personal journals, computer file names, and sketchbook notes. Any revelatory information about a title is found within the Notes section of the entry.
In order to make clear the origin of a title, and to lend consistency to the titling of Fisher’s work, we have devised the following guidelines:
Primary Titles are those that Fisher either inscribed on the work, were written in their personal journals, published online by the artist on their social media or blog during Fisher’s lifetime, or reflect Fisher’s stated preference as the title. We have adhered to the spelling and syntax exactly as it originally appeared. Primary titles appear in italics: Shrine 0
Estate Titles are those that have been assigned by the artist’s closest contacts, including their life partner, Andy Caira, and their best friend and creative collaborator, Aidan Nolan for archival purposes and the catalogue raisonné. Many of these titles reflect the fact that a work is related to another work, often with a primary or historical title. Estate titles appear in roman type within parentheses: (Clustered Suburbs)
Sketch for is the prefix used for drawings which Fisher made in preparation for a specific painting that was created at a later date. In these instances, Estate titles appear in roman type within single quotation marks: Sketch for Shrine 0 and Sketch for ‘The Last Person Forgets You’
Untitled when in italics refers to a work whose title was specified by the artist as “Untitled.” It is also used to clarify when an artwork has no given title and will often be accompanied by a descriptive title in parentheses.
When a work was done after that of another artist, the title includes the name of the artist and the title of their work is placed within double quotation marks: Death, After Klimt’s “Death and Life”
Dates reflect the year that a work was completed. Two dates separated by an en dash signify the documented time span: 2020–21. A span of dates preceded by “c.”, indicates that the editors have concluded that the completion date took place at some time within that time span. A question mark within parentheses indicates uncertainty: 2020(?).
Our goal has been to describe the media as concisely and consistently as possible. The material description of each work is listed in order of visual dominance, from most to least dominant. The majority of the material descriptions are based on direct visual examination of the works. In some instances when the work was not physically examined, we have included the description of materials based on information from current owners or photographs. In the case where a work is destroyed or the owners cannot be contacted, the material descriptions are based on photos exclusively.
Fisher’s primary paint medium was acrylic paint and the painting’s support either canvas or paper. Occasionally, Fisher would paint on nontraditional support, including mirrors. These art objects are currently catalogued under the “painting” category, as opposed to “objects.” The categorization between “object” and “painting” is done based on our perception of the artist’s intention. Sculpure and functional objects are generally categorized as “objects.”
For drawings, they used ink, graphite pencil, crayon, oil pastels, soft pastels, watersoluable wax pastels, washable markers, permanent markers, acrylic paint marker, watercolor, and acrylic. Color names are not included.
“Paper” includes paper in general, such as newsprint paper or watercolor paper.
Dimensions are given in inches. Height precedes width. In most cases an object’s measurements have been confirmed in person with the work. In some cases, we have included a work’s dimensions based on the measurements given by the current owners of the work, and the accuracy has not been confirmed. When a work was made on an irregularly shaped surface, the longest dimensions of the two dimensional work is included. For objects and sculptures, the longest dimensions from three dimensions are included. In instances where the measurements of a work are not available, it is listed as “Dimensions unknown.” For drawings, prints, and posters, the dimensions of the surface is the official dimension.