JUNE WAYNE・Art + Science
The Terrestrial Works
Environment

 
Neil Armstrong and Buzz Aldrin first set foot on the moon on July 20, 1969. For the more than two billion people viewing this event on television, this—perhaps the greatest physical feat in the history of humans—was to be nothing less than an archetypal alteration of global consciousness. Viewing Earth in its entirety created an image of its time which inspired the ecology movement (especially its anti-war and anti-pollution aspects) of the 1970’s and also confirmed realities of form and dimension that had occupied Wayne for decades.
— Arlene Raven, Curator “June Wayne, A Retrospective”, Neuberger Museum of Art, 1997, Exhibition Catalogue Essay
 
Image of June Wayne’s lithograph “Lemmings’ Night"

Lemmings’ Night

Image of June Wayne’s lithograph “Lemmings’ Day"

Lemmings’ Day

Lemmings are known for their recurrent mass migrations. The blind suicide of whole societies of the short-tailed furry rodents occurs at the end of such pilgrimages—often to the sea at night, where vast numbers drown by jumping off cliffs into fjords. Wayne suggests that lemmings, like people, when choosing a leader, “merely elect someone who doesn’t know the way.
— Arlene Raven, Curator “June Wayne, A Retrospective”, Neuberger Museum of Art, 1997. June Wayne quote from Mary Baskett, “The Art of June Wayne”.
Image of June Wayne’s Stone Circle

Stone Circle

Image of June Wayne’s tapestry “La Journey Des Lemming” (Lemmings’ Day)

La Journée des Lemmings (Lemming’s Day)

This tapestry presents a primordial landscape, populated with human shapes sometimes difficult to recognize. Although a lemming is a herbivorous, nonhibernating rodent that burrows through the roughest of Arctic and sub-Arctic soils, in this tapestry the title is applied to the humanized lemmings and takes advantage of the popular misconception that these creatures commit mass suicide by throwing themselves over high cliffs in large numbers. One sees in this tapestry tremendous turmoil, rapid movement and apparent struggle, which easily describe a mass suicide, leaving the viewer haunted by Wayne’s devastating portrayal of chaos in black and white.
— Christa C. Mayer Thurman, Curator June Wayne’s Narrative Tapestries: Tidal Waves, DNA, and the Cosmos, Exhibition Catalogue, Art Institute of Chicago, 2010.
Image of June Wayne’s lithograph "To Get To The Other Side"

To Get To The Other Side

‘La Journée des Lemmings’ more than ten feet wide, is a sumptuously textured abstraction in intricately woven wool. Its fractured, black and white storm clouds visually coalesce into layers of geological strata, like an X-ray of underground sedimentary rock. Across a dark, compressed band in the lower right quadrant, tiny naked figures swarm. Humanity’s chaos evokes the social turmoil of the day – Vietnam horrors, the fallout of stalled Paris peace talks, the senseless bombing of Cambodia, the slaughter of students at Kent State and more.
— Christopher Knight, Art Critic, Winner of Pulitzer Prize for distinguished Criticism, 2020. "A survey of June Wayne at Pasadena Museum of California Art", LA Times, 2014.
Image of June Wayne’s color lithograph “Lemmings’ Crush"

Lemmings’ Crush

Image of June Wayne’s color lithograph “Two Thousand Too Soon"

Two Thousand Too Soon