Eighth Stone

Lee Bontecou’s Eighth Stone: A Portal Between Dimensions

Created in 1968, Eighth Stone marks a pivotal moment in Lee Bontecou’s transition from her signature welded-steel reliefs to the more fluid, organic forms of her later printmaking. This lithograph distills the artist’s fascination with voids and thresholds—central themes in her work—into a two-dimensional composition that retains the tactile intensity of her sculptures. The circular aperture at its core, framed by jagged, almost geological contours, evokes both a telescope and a black hole, a duality that defined Bontecou’s exploration of inner and outer space during the Space Race era.

The print’s title, Eighth Stone, suggests a sequence, hinting at the artist’s methodical approach to her Stone series. Unlike her earlier, more aggressive reliefs, this work adopts a meditative quality, its monochromatic palette focusing attention on the interplay between solid and void. As the Museum of Modern Art notes in its analysis of Bontecou’s printmaking, her lithographs “retain the physicality of her sculptures while embracing the immediacy of drawing” (moma.org). The 30×40 cm dimensions of this print allow its intricate textures—reminiscent of charred paper or eroded rock—to command presence without overwhelming a space.

The Stone Series and Bontecou’s Shift to Printmaking

By 1968, Lee Bontecou had spent nearly a decade pushing the boundaries of sculpture with her welded-steel and canvas reliefs—works that combined industrial materials with organic forms to create what critic Lucy Lippard called “a new kind of object, neither painting nor sculpture.” The Stone series, initiated in the mid-1960s, marked her first sustained engagement with lithography, a medium that allowed her to explore similar themes of depth and void without the physical constraints of metalwork. These prints were not mere reproductions but independent works, as the Smithsonian American Art Museum emphasizes in its collection notes: “Bontecou treated printmaking as an extension of her sculptural practice, using the plate as a three-dimensional surface” (americanart.si.edu).

Eighth Stone belongs to this transitional period, where the artist’s signature circular motifs—often interpreted as orifices, portals, or cosmic voids—became more refined. The lithograph’s textured edges, achieved through layered inking and plate manipulation, mimic the rough surfaces of her sculptures, while the central void retains its ambiguity: is it an entrance, an exit, or simply a absence? This duality reflects Bontecou’s longstanding interest in the tensions between presence and absence, a theme that resonated with the existential questions of the late 1960s.

Unlike her earlier reliefs, which confronted the viewer with their physical protrusion, Eighth Stone draws the eye inward. The void is no longer a threat but an invitation—a shift that parallels Bontecou’s own move from the aggressive energy of her early work to a more contemplative, almost architectural, exploration of space.

Technical Mastery: From Metal to Ink

The Lithographic Process

Bontecou’s approach to lithography was unconventional. She treated the limestone plate as a sculptural surface, scraping and abrading it to create textures that would hold ink unevenly. For Eighth Stone, she employed a combination of tusche wash and direct drawing on the plate, building up layers to achieve the work’s granular, almost volcanic surface. The deep blacks were printed first, followed by subtle grays that give the edges their rough, tactile quality.

Composition and Spatial Illusion

The print’s composition relies on a precise balance between symmetry and irregularity. The central void is perfectly centered, yet its surrounding “stone” forms are asymmetrical, creating a tension that animates the static image. Bontecou achieved this effect by varying the pressure and angle of her mark-making, allowing the ink to pool unevenly. The result is a work that appears to pulsate, its edges suggesting both erosion and growth—a duality that defines her entire Stone series.

Displaying Eighth Stone: A Guide to Placement

The monochromatic palette and stark contrasts of Eighth Stone make it remarkably versatile, but its dramatic void demands thoughtful placement. In a modern interior, the print’s 30×40 cm dimensions work best above a console table or floating shelf, where its central aperture can dialogue with the negative space of the wall. For a more immersive effect, consider a gallery wall pairing: the lithograph’s textured blacks pair striking with minimalist line drawings or small-scale geometric abstractions. Avoid overly busy backgrounds; a matte white or deep charcoal wall allows the work’s subtle gray gradients to emerge. In a home office or study, its cosmic void can serve as a meditative focal point, especially when lit by a directed spotlight that accentuates its tactile surface.

More Works by Lee Bontecou

Discover the evolution of Bontecou’s voids and textures across four decades of printmaking.

Lee Bontecou

Fourth Stone

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Lee Bontecou

Study For An Untitled Print

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Lee Bontecou

Tenth Stone

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Lee Bontecou

Untitled 1

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