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Bid on prints by contemporary art’s luminaries, including Tomma Abts, John Baldessari, Tara Donovan, Charline von Heyl, Kiki Smith, Christopher Wool, and more in an auction supporting IPCNY’s 10th Annual Spring Benefit Dinner on May 25th. The Benefit celebrates accomplishments in the field of prints, honoring artist John Baldessari, print publisher and gallerist Brooke Alexander, and IPCNY’s founding director Anne Coffin.

 

Bidding ends May 25 at 10:00PM EST

To register and start bidding, visit paddle8.com/auction/ipcny/. 

 

Abts_Tomma
TOMMA ABTS

“Untitled (small circles)”, 2015
Color aquatint
29.25 x 22.75 in (74.3 x 57.79 cm)
Edition: 3 of 17
Published by Crown Point Press, CA
Courtesy of artist and Crown Point Press

 

This print is from Tomma Abts’s (German, b. 1967) newest series of etchings created with the renowned print studio Crown Point Press, San Francisco. Abts is known for her absorbing abstract paintings, drawings, and prints that interweave formal elements like stripes, circles, and arcs to create subtle, three-dimensional illusions. Her work is held in the collections of The Museum of Modern Art, The Art Institute of Chicago, and the Tate Modern. Abts recent one-person exhibition at the Aspen Museum of Art (2014) focused on the artist’s works on paper. In 2006, she was awarded the Turner Prize by Tate Modern, London. Abts is represented by David Zwirner in New York and greengrassi in London, where she currently lives and works.

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MARINA ADAMS

“New Alphabet”, 2016
Monotype
30 x 22 in (76.2 x 55.88 cm)
Proof outside main edition of 40
Published by VanDeb Editions, NY
Courtesy of artist and VanDeb Editions

 

Marina Adams is an artist based in both New York and Parma, Italy, whose paintings and works on paper explore the relationship of color, geometry, and abstraction—some with art historical references, such as Picasso and Matisse. A graduate of the Tyler School of Art and Columbia University’s School of the Arts, Adams has exhibited in solo exhibitions at Galerie Gris, Hudson, New York (2015 and 2013), Hionas Gallery, New York (2013), and CUE Art Foundation, New York (2008). She often collaborates with poets, including for the recent publication “Actualities” with Norma Cole (Litmus Press, 2015), “Taormina” with Vincent Katz (Kayrock, 2012), and “Vue sur Mer” with Christian Prigent (Gervais Jassaud, 2010). Her forthcoming book “Portrait and a Dream” will be published in 2016 by Karma Books, New York.

 

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DIANA AL-HADID

“Untitled”, 2014
Three-color hard ground, soft ground, and soap ground etching
27.75 x 34.75 in (70.49 x 88.27 cm)
Edition: 37 of 45
Courtesy of artist and Marianne Boesky Gallery, New York

 

Diana Al-Hadid (Syrian, b. 1981) is a Brooklyn-based artist known for her monumental sculptures and works on Mylar and panels constructed from common materials, such as cardboard, polymer gypsum, wood, plaster, and steel. Al-Hadid’s inspirations are widespread, representing imagery from ancient inventions and mythology to Western painting, Gothic architecture, and Islamic ornamentation. She has shown in solo exhibitions at the Nevada Museum of Art, the Virginia Museum of Fine Arts, and the Hammer Museum, among others. Al-Hadid is represented by Marianne Boesky Gallery in New York and OHWOW Gallery in Los Angeles.

 

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DAVID ALTMEJD

“Ringers (Y.L.)”, 2014
Intaglio with pigmented inkjet, collage, and hand additions
26 x 19 in (66.04 x 48.26 cm)
Edition: 30 of 30
Published by The LeRoy Neiman Center for Print Studies, Columbia University

 

This print is part of installation artist David Altmejd’s (Canadian, b. 1974; lives New York) second series created at Columbia University, where the artist received his MFA. The project remixes portrait photographs the artist had taken of staff and students working in the print studio. Altmejd inverted each photograph, embellishing the image with etching, collage, and hand additions to create a new creature-like image. Altmejd’s prior edition produced at Columbia, a portfolio of 21 prints entitled “Ringers”, was included in IPCNY’s landmark 50th New Prints show in 2015. Altmejd’s most recent exhibitions include “Flux” (2014–2015), a retrospective that has traveled from the Musée d’Art Moderne de la Ville de Paris to the Mudam Luxembourg and the Musée d’art contemporain de Montreal. His work has also been exhibited at the New Museum (2010), the Guggenheim Museum (2010), and the Whitney Museum (2004 Biennial). Altmejd is represented by Andrea Rosen Gallery in New York and Stuart Shave/Modern Art in London.

 

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J.W. AUDUBON
“Large Tailed Skunk Male”, 1846
Lithograph
27.25 x 21.625 inches
Courtesy of a Friend of IPCNY

Printed and published by J.T. Bowen. Marked “Drawn from Nature by J.W. Audubon,” on lower left, “and “Lith. Printed & Col. by J.T. Bowen, Philada. 1846,” lower right. Also marked “No. 21,” upper left and “Plate CII,” upper right.

John Woodhouse Audubon (b. 1812-1862), son of John James Audubon, worked with his father to create encyclopedic, remarkably detailed depictions of North American wildlife and completed the work of his father after his death in 1851, including this lithograph from “The Quadrupeds of North America”. This work is a symbol of the continuing legacy of Audubon and the power that depictions of our natural world hold in the medium of print.

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WILLIAM BAILEY

“Untitled”, 1982
Etching
27.5 x 22.25 in (69.85 x 56.52 cm)
Edition: 2 of 20
Printed by Jennifer Melby, NY
Courtesy of A friend of IPCNY

 

William Bailey (American, b. 1930) is a realist painter, draftsman, and printmaker whose still life compositions present everyday objects in groupings that conjure the familiar while offering a metaphysical timelessness. Bailey is represented by Betty Cuningham Gallery, New York, where his current exhibition of new paintings is on view through June 11. Bailey has been exhibiting in New York since the late 1960s and has taught at The Cooper Union, University of Pennsylvania, and The Yale School of Art, where he studied under Josef Albers and received an MFA in 1957. Bailey’s work is in numerous museum collections, including the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden, Museum of Fine Arts, Boston, The Museum of Modern Art, and the Whitney Museum.

 

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JOHN BALDESSARI

“Plant and Lamp (B + Y; Y + B)”, 1998
Lithograph
17 x 32 in (43.18 x 81.28 cm)
Edition of 65: 10 AP
Published by Cirrus Editions Ltd.
Courtesy of artist and Cirrus Editions

Working in print since 1971, John Baldessari—IPCNY’s 2016 Spring Benefit Artist Honoree—fuses found imagery, text, abstraction, and montage to create compositions that probe how we interpret cultural icons and everyday objects. Baldessari (American, b. 1931) sources his imagery from the larger visual world, finding inspiration in advertising and film, and then focusing our attention by obscuring or fragmenting portions—or by creating ironic juxtapositions, such as in this classic print “Plant and Lamp (B +Y; Y + B)” from 1998. Published by Cirrus Editions, Los Angeles, one of Baldessari’s long-standing collaborators, this print uses visual and text-based tropes to playfully probe how meaning is formed. Baldessari is widely celebrated as one of today’s most significant artists. His print retrospective “John Baldessari: A Print Retrospective form the Collections of Jordan D. Schnitzer and His Family Foundation” toured from 2009 through 2012, and his painting retrospective “Pure Beauty” was presented at LACMA and The Metropolitan Museum in 2010. Baldessari’s prints have been exhibited at IPCNY on five occasions, including in the center’s “Big Picture Show”.

 

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HANNELORE BARON

“Untitled”, c. 1980
Monoprint
Work: 4 x 7 in (10.16 x 17.78 cm)
Printed and published by the artist.
Courtesy of Mark Baron and Elise Boisante

Best known for her intricate and deeply personal abstract collages, Hannelore Baron (German, 1926-1987) fled Nazi Germany with her family in the 1940s, eventually settling in New York City. Drawing from this personal and political history, and from her own battle with depression, Baron developed an iconography of figures, birds, patterns, and hieroglyphics, which she composed into small-scale mixed media collages. After her death, Hannelore’s work was the subject of a solo exhibition at the Solomon R. Guggenheim Museum in 1995 and, in 2002, a national touring exhibition organized by the Smithsonian Institution. She once remarked of one of her works, “The solution didn’t come only from my head, it was lived out and worked out. It is a complete thing.”

 

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HANNELORE BARON

“Untitled”, c. 1980
Monoprint
Work: 6.25 x 3 in (15.88 x 7.62 cm)
Courtesy of Mark Baron and Elise Boisante

Best known for her intricate and deeply personal abstract collages, Hannelore Baron (German, 1926-1987) fled Nazi Germany with her family in the 1940s, eventually settling in New York City. Drawing from this personal and political history, and from her own battle with depression, Baron developed an iconography of figures, birds, patterns, and hieroglyphics, which she composed into small-scale mixed media collages. After her death, Hannelore’s work was the subject of a solo exhibition at the Solomon R. Guggenheim Museum in 1995 and, in 2002, a national touring exhibition organized by the Smithsonian Institution. She once remarked of one of her works, “The solution didn’t come only from my head, it was lived out and worked out. It is a complete thing.”

 

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SANFORD BIGGERS

“The Floating World: Otsukimi”, 2013
Paper collage with screenprint and hand-coloring
21.125 x 29.75 in (53.66 x 75.57 cm)
Edition: 1 of 30
Courtesy of The LeRoy Neiman Center for Print Studies, Columbia University

 

This print is part of multi-disciplinary artist Sanford Biggers’s (American, b. 1970) 2013 series “In the Floating World”. It explores American history through the lens of quilt making, recreating the texture and aura of handmade quilts with collaged paper and introducing political imagery—like the flag of Tennessee—using stencils, silkscreen, and spray paint. This series is a manifestation of the artist’s interest in the role played by quilts in marking Underground Railroad safe houses. Biggers’s work is represented in major public collections, including The Museum of Modern Art, The Walker Art Center, and the Brooklyn Museum. He is currently Assistant Professor at Columbia University’s Visual Arts program and serves as an Affiliate Faculty member in the Sculpture & Extended Media program at the Virginia Commonwealth University of Richmond. Biggers is represented by David Castillo Gallery in Miami and Monique Meloche Gallery in Chicago.

 

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KATHERINE BRADFORD

“Giraffe”, 2016
Screenprint and linoleum cut in nine colors on Rives BFK off-white paper
28 x 22 in (71.12 x 55.88 cm)
Edition of 26 (1 of 1 AP)
Published by Planthouse, NY

 

A departure from Katherine Bradford’s typical aquatic based environments, “Giraffe” explores the themes of life and death through the juxtaposition of man, woman, and beast. Published by Planthouse Gallery in New York’s Flower District, this edition is both comedic and theatrical. Bradford (American, b. 1942), who splits her time between New York and Maine, has received merit-based awards from the Joan Mitchell Foundation, American Academy of Arts and Letters, the Pollock-Krasner Foundation, and the John Simon Guggenheim Foundation. Recently featured at the gallery CANADA, New York, Bradford’s work is currently on exhibition at Adams & Ollman in Portland. Her work is held in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Portland Museum, Smith College Museum, and Addison Gallery of American Art, among others. Bradford is represented by CANADA and by Edward Thorp Gallery, both in New York.

 

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CECILY BROWN

“Who Killed Cock Robin?”, 2014
Offset lithograph
29 x 40.5 in (73.66 x 102.87 cm)
Edition: 28 of 32
Published the LeRoy Neiman Center for Print Studies, Columbia University

This print is one of Cecily Brown’s (British, b. 1969) five editions recently created in collaboration with Columbia University’s LeRoy Neiman Center for Print Studies. Depicting pastoral and animal subject matter, this series of prints was built up through layers of offset and stone lithography, using both found imagery and the artist’s hand mark-making. A reinterpretation of Brown’s thick painterly surfaces on canvas, this offset print captures a translucency specific to its own process. Brown attended the Slade School of Art and has been living and working in New York since the early 1990s. Her paintings, prints, and drawings are held in major museum collections, including the Tate Gallery, The Museum of Modern Art, Solomon R. Guggenheim Museum, Albright Knox Art Gallery, Whitney Museum of American Art, and the Museum of Modern Art in Frankfurt, among others. Represented by Gagosian Gallery from 1999 until last year, Brown currently exhibits with Maccarone gallery in New York.

 

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ANN CRAVEN

‘Pensée #41, 2015″, 2015
Inkjet print on archival Epson Enhanced Matte paper
28.75 x 19.375 in (73.03 x 49.21 cm)
Edition: 7 of 10
Courtesy of artist and Maccarone, NY

 

Best known for her bold portraits of birds and flowers, painter and printmaker Ann Craven (American, b. 1969) creates work governed by experimentation and chance. Often returning to subjects from the natural world, “I like to think that my work acts like a memory bank,” she had said. A graduate of the Columbia University Visual Arts Masters program, Craven lives and works in New York and is represented by Maccarone Gallery in New York and Shane Campbell Gallery in Chicago. Her most recent exhibition Hello, Hello, Hello at Maccarone (2016) showcased three of her most habitual subjects: birds, stripes, and the moon. Her work is represented in the collections of The Museum of Modern Art, Whitney Museum, The New Museum, and the Museum of Contemporary Art, Chicago.

 

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CAETANO DE ALMEIDA

“Untitled VIII”, 2013
Monotype with lithographic inks
Work: 28 x 20 in (71.12 x 50.8 cm)
Courtesy of Donald Taglialatella and World House Editions

 

Caetano de Almeida (Brazilian, b. 1964) creates highly intricate linear paintings, drawings and monotypes with a broad range of influences, including Op Art, hard edge Abstraction, and Brazilian textiles. His work is also influenced by artists from Mondrian and Gerhard Richter to Brazilian masters Hélio Oiticica and Lygia Clark. This unique monotype is part of de Almeida’s first significant print project, comprising a series of 52 monotypes created in 2013 at Derrière L’Étoile Studios in New York. Applying lithographic inks to a Plexiglas plate, the work is typical of the artist’s optically charged and chromatic style of abstraction. Caetano de Almeida’s work has been exhibited in Latin American museums and galleries in New York and São Paulo, including recent solo exhibitions at Eleven Rivington in New York (2013) and Galeria Luisa Strina in São Paulo (2016). De Almeida is represented by Galeria Luisa Strina in São Paulo.

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TARA DONOVAN

“Untitled”, 2015
Relief from a Slinky matrix
20.5 x 22 in (52.07 x 55.88 cm)
Edition: 16 of 25
Published by Donovan Studios, LLC NY
Courtesy of artist

 

Derived from Tara Donovan’s recent investigation of Slinkys® as an artistic medium, this recent edition by the artist deconstructs the three-dimensional form into two-dimensions—expanding, contracting, and then layering Slinkys® onto a printing plate. Donovan (American, b. 1969) has earned acclaim for her ability to discover the inherent physical characteristics of a banal object and transform it into an abstraction with pulsating visual experiences. With a commitment to process and experimentation, she has utilized Scotch tape, Styrofoam cups, paper plates, toothpicks, and drinking straws, layering, piling, or clustering these objects to transcend their original purpose. Donovan received the MacArthur Foundation “Genius” Award in 2008. She is represented by Pace Gallery in New York and has collaborated extensively with Pace Editions since 2005. Her work has been featured in solo exhibitions at the Metropolitan Museum of Art, UCLA Hammer Museum, and Corcoran Gallery of Art, Washington D.C. Donovan is also represented by Stephen Friedman Gallery in London.

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RICHARD DUPONT

“Core”, 2008
Etching with aquatint
67.25 x 39.75 in (170.82 x 100.97 cm)
Edition: 4 of 12
Published by Carolina Nitsch, NY
Courtesy of artist and Carolina Nitsch

 

New York-based artist Robert Dupont (American, b. 1968) creates work that probe themes of the human body, digital technology, memory, perception, and social space. Using 3D digital models of bodies and objects, rather than things themselves, Dupont creates sculptures, installations, paintings, and works on paper that distort and decontextualize the body—exploring the frontier of biometric technologies. This monumental, yet richly inked and highly detailed etching and aquatint belies the artist’s post-digital approach. Dupont is a graduate of Princeton University’s Departments of Visual Art and Art and Archeology. His work is held in the collections of The Museum of Modern Art, Brooklyn Museum, Hammer Museum, Museum of Fine Art Boston, Cleveland Museum of Art, Whitney Museum, and San Francisco Museum of Modern Art, among others. Dupont is represented by Tracy Williams, Ltd. and Carolina Nitsch in New York.

 

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MARCEL DZAMA

“The Beauty that is Born from the Seed of the Beast”, 2015
Color soft ground etching with spit bite aquatint and aquatint
39.5 x 28.5 in (100.33 x 72.39 cm)
Proof outside main edition of 25
Courtesy of artist and David Zwirner

 

Marcel Dzama (Canadian, b. 1974) works across mediums, including painting, works on paper, sculpture, film, and dioramas. Most recently, premiering in February 2016, he created the costume and stage design for the New York City Ballet’s The Most Incredible Thing along with an installation in the promenade of the David H. Koch Theater. Dzama’s work constructs fantastic worlds made up of humans, animals, and otherworldly figures that are sometimes a hybrid of the two. The three-eyed woman and demonic beast in this print is typical of his mythical imagery; it is part of a 2015 body of prints referencing Goya’s print cycles and was created at the renowned workshop Crown Point Press in San Francisco, Dzama’s work is held in collections of The Museum of Modern Art, Musée d’art contemporain de Montréal, Tate Modern, Solomon R. Guggenheim, and Museum of Contemporary Art North Miami, among others. Dzama is represented by David Zwirner in New York.

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LAWRENCE WEINER AND JONATHAN ELLERY

“Now It Is Now It Ain’t”, 2016
Screenprint
35.25 x 25 in (89.54 x 63.5 cm)
Edition of 40 (1 of 10 AP)
Published by Browns Editions, London
This newly-released collaborative project between Lawrence Weiner and Jonathan Ellery was published by Brown Editions. Lawrence Weiner (American, b. 1942) is a New York-based artist known for his language-based works and redefining the artist-viewer relationship. Weiner is considered a key artist in the conceptual art movement of the 1960s and had a major retrospective at the Whitney Museum 2007. His work is held the collections of The Museum of Modern Art, Art Institute of Chicago, British Museum, and Centre Pompidou, among many others. Weiner is represented by Marian Goodman Gallery in New York. Jonathan Ellery (British, b. 1964) lives and works in Bermondsey, London. Ellery works across a media including film, photography, performance, sculpture, print, and book arts. His conceptual approach examines the everyday concerns from a simple, sometimes absurdist perspective. Ellery has shown in solo exhibitions at Andrew Roth Gallery in New York, and the Londonewcastle Project Space and Wapping Project, both in London.
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SHEPARD FAIREY

“Keith Haring”, 2010
Screenprint
24 x 18 in (60.96 x 45.72 cm)
Edition: 57 of 450
Courtesy of Keith Haring Foundation

 

Shepard Fairey (American, b. 1970) is an artist, graphic designer, and illustrator who emerged from the Rhode Island School of Design in the late 1980s and early 1990s. Steeped in California skateboard culture, he first became known for his André the Giant Has a Posse sticker campaign 1989. Fairey’s work became highly popularized during the 2008 U.S. presidential election with the release of his Obama HOPE poster. This print pays homage to one of Fairey’s predecessors, Keith Haring, the iconic American artist and social activist whose work responded to New York City’s street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Regarded as one of today’s most influential street artists, Fairey had a major solo exhibition at The Institute of Contemporary Art, Boston in 2009. Fairey co-founded his own gallery and artist collective, Subliminal Projects, in Los Angeles and is represented by Jacob Lewis Gallery in New York.

 

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SHEPARD FAIREY

“This New Wave is a Little Slick For My Taste”, 2014
Screenprint
37 x 48.5 in (93.98 x 123.19 cm)
Edition of 60 (4 of 5 AP)
Courtesy of artist and OBEY Giant

 

Shepard Fairey (American, b. 1970) is an artist, graphic designer, and illustrator who emerged from the Rhode Island School of Design in the late 1980s and early 1990s. Steeped in California skateboard culture, he first became known for his André the Giant Has a Posse sticker campaign 1989. Fairey’s work became highly popularized during the 2008 U.S. presidential election with the release of his Obama HOPE poster. This print reinterprets Hokusai’s famous woodblock print The Great Wave (c. 1830) for the contemporary period, with reference to the oil industry through a refinery pictured in the distance. Regarded as one of today’s most influential street artists, Fairey had a major solo exhibition at The Institute of Contemporary Art, Boston in 2009. Fairey co-founded his own gallery and artist collective, Subliminal Projects, in Los Angeles and is represented by Jacob Lewis Gallery in New York.

 

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JANE HAMMOND
“Tabula Rosa”, 2001
Pigmented inkjet print on handmade Japanese paper
75 x 30 in (190.5 x 76.2 cm)
Edition of 43 (8 of 10 AP)
Published by ULAE, NY

 

Jane Hammond (American, b. 1950) engages a variety of mediums, from drawing and collage to etching, digital printing, and photography. Hammond is a collector by nature, constantly incorporating and layering found information into her compositions. In her monumental print Tabula Rosa (2001), Hammond superimposes a flood of images drawn from previous works onto a full-scale nude self-portrait. The “tattoos” are digitally collaged over an image of the artist’s backside, altered to fit the contours of her body. This work highlights the physical reality of the female form while creating a new narrative about the self using “tattoos” that are the substance of much of her work. Hammond’s work is included in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, The National Gallery of Art, and the Whitney Museum of American Art, among others. She has collaborated extensively with Universal Limited Art Editions (ULAE) since 1989, and also publishes with Pace. She is represented by Galerie Lelong in New York and Paris.

 

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MICHAEL HEIZER

“Swiss Survey #3”, 1985
11-color offset lithograph and screenprint
Work: 41.625 x 39 in
Edition: 28 of 29
Published by Gemini G.E.L., NY
Courtesy of Jim Kempner Fine Art

Michael Heizer (American, b. 1944) is a pioneer of the Land Art movement of the late 1960s. Though Heizer initially began his career as a painter, he quickly began using large-scale sculpture and earth art as a reaction against the commercialization of artistic practice and the confines of the museum space. One of his most famous works, North, East, South, West 1, of 1967, included several holes the artist dug in the Sierra Nevada—holes akin to shapes in his painting. His more recent Levitated Mass is a 340-ton boulder excavated from a quarry in California, situated above a concrete trench in the sculpture garden at the Los Angeles County Museum of Art. This spectacular photo-based print with strokes of color is rare among his works; difficult to collect, Heizer’s works on paper capture visual aspects and designs related to his large-scale projects. His work has been collected and exhibited by MoMA, Whitney, Dia Beacon, LACMA, and the Fondazione Prada. Heizer lives and works in Garden Valley, Nevada, and is represented by Gagosian Gallery, where he held a solo exhibition of new works in 2015.

 

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CARSTEN HOLLER
“Birds (#5)”, 2006
Photogravure
29.75 x 22.75 in (75.57 x 57.79 cm)
Edition: 20 of 24
Published by the artist and Niels Borch Jensen Verlag, Copenhagen and Berlin.
Courtesy of Carolina Nitsch, New York
Carsten Höller (Belgian, b.1961) originally trained as a scientist and his work reflects a deep interest in research, experimentation, and human perception. His playful and disorienting immersive installations invite viewers to interact with his work, often drawing on social spaces outside of the museum, such as the amusement park or zoo, but providing experiences far from expectations. In addition to incorporating birds into his 2011 solo exhibition at the New Museum in New York, the artist created photogravures—including this example—of one-of-a-kind canary crossbreeds, published with the renowned Danish printer Niels Borch Jensen. Höller collects, houses, and photographs live birds in his Stockholm apartment. Höller has had solo exhibitions internationally including at Moderna Museet in Sweden, Fondazione Prada in Milan, MASS MoCA, the Museum of Contemporary Art in Croatia, and the Tate Modern in London. Höller currently lives and works in Stockholm and in Biriwa, Ghana. He is represented by Air De Paris in Paris, and Gagosian Gallery and Carolina Nitsch in New York.
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CARSTEN HOLLER

“Birds (#6)”, 2006
Photogravure
29.75 x 22.75 in (75.57 x 57.79 cm)
Edition: 20 of 24
Published by the artist and Niels Borch Jensen Verlag, Copenhagen and Berlin.
Courtesy of Carolina Nitsch, New York
Carsten Höller (Belgian, b.1961) originally trained as a scientist and his work reflects a deep interest in research, experimentation, and human perception. His playful and disorienting immersive installations invite viewers to interact with his work, often drawing on social spaces outside of the museum, such as the amusement park or zoo, but providing experiences far from expectations. In addition to incorporating birds into his 2011 solo exhibition at the New Museum in New York, the artist created photogravures—including this example—of one-of-a-kind canary crossbreeds, published with the renowned Danish printer Niels Borch Jensen. Höller collects, houses, and photographs live birds in his Stockholm apartment. Höller has had solo exhibitions internationally including at Moderna Museet in Sweden, Fondazione Prada in Milan, MASS MoCA, the Museum of Contemporary Art in Croatia, and the Tate Modern in London. Höller currently lives and works in Stockholm and in Biriwa, Ghana. He is represented by Air De Paris in Paris, and Gagosian Gallery and Carolina Nitsch in New York.
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LEONARD LEHRER

“View of St. Petersburg”, 1978
Lithograph
23.875 x 30 in (60.64 x 76.2 cm)
21 of 100
Published by Tamarind Institute, NM
Courtesy of artist
Leonard Lehrer (American b. 1935) is a painter and printmaker whose work has been the subject of forty-seven solo exhibitions including in New York, Philadelphia, and throughout the United States, Germany, Austria, Spain, and Italy; he has had five museum shows. Lehrer’s works are held in the collections of The Museum of Modern Art, Metropolitan Museum of Art, National Gallery of Art, Philadelphia Museum of Art, and Cleveland Museum of Art, among others. Former Director of the School of Art, Arizona State University and Chair of the Department of Art and Arts Professions, New York University, Dean, School of Fine and Performing Arts, Columbia College Chicago, he is presently Visiting Professor and Director, Printmaking Convergence Program, College of Fine Arts and Department of Art & Art History, The University of Texas at Austin. Lehrer is a Founding Trustee of IPCNY.
Untitled
ROBERT LONGO
“Study of Brooke”, 1981/2016
Graphite and charcoal on paper (framed)
Sheet dimensions: 12 x 7 inches
Signed and dated: 1981-2016
Inscribed: Study of Brooke

Robert Longo (American, b. 1953) is a leading figure of the Pictures Generation, gaining acclaim with his monumentally-scaled Men in the Cities drawings series beginning in 1979, which portrays the arrested action of the quintessential 1980s urban figure. Casting art-world friends such as Brooke Alexander and Cindy Sherman as models, Longo photographed his smartly dressed subjects in jerking and flailing positions, a posture they assumed to avoid objects thrown by the artist. The resulting isolated figures rendered in large-scale compositions vacillate between agony and ecstasy, also capturing the artist’s interest in the ethos of 1980s punk musicians and their fans. This small-scaled, jewel-like 2016 drawing by Longo returns to the subject of Brooke Alexander, the influential gallerist and print publisher, whom the artist first rendered in 1981; that image appeared on the cover of the 1986 catalogue Robert Longo: Men in the Cities (1979­1982). Longo created this new, highly refined graphite and charcoal drawing as a tribute to Brooke Alexander, IPCNY’s 2016 Spring Benefit Dinner honoree.

Longo’s work is held in collections including the Whitney Museum, Smithsonian American Art Museum, Solomon R. Guggenheim Museum, The Walker Art Center, and The Museum of Modern Art, among many others. Longo has had numerous retrospective exhibitions, including at the Hamburger Kunstverein and Deichtorhallen, The Menil Collection, Los Angeles County Museum of Art, and the Museum of Contemporary Art in Chicago. His work was included in The Metropolitan Museum of Art’s 2009 exhibition Pictures Generation: 19741984. Longo is represented by Metro Pictures in New York.

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ROBERT MANGOLD

“Brown/Black Zone Print”, 1997
Woodcut
21 x 29.5 in (53.34 x 74.93 cm)
Edition: 48 of 50
Published by Pace Editions, NY
Courtesy of artist and Pace Editions, Inc., New York

Robert Mangold (American, b.1937) is a New York-based artist who, since the mid-1960s, has created abstract compositions that regularly deploy shaped canvases with both thick and thin graphite lines and washes of color. His extensive oeuvre of prints, combine the classic elements of his composition—shape, line, and color—with the white of the paper to create dynamic areas of positive and negative space. This richly-colored and textured woodcut, with its irregular arch and off-center composition, is particularly organic in feel.   Mangold has been the subject solo exhibition at the Solomon R. Guggenheim Museum and the Stedelijk Museum, Amsterdam, among others. Mangold was educated at the Cleveland Institute of Art and Yale University. His work is included in such illustrious collections as the Metropolitan Museum of Art, the Menil Collection, and the Solomon R. Guggenheim Museum. Mangold is represented by Pace Gallery in New York.

 

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JOHN MORNING

“JUNCTION”, 2016
Screenprint
20 x 27 in (50.8 x 68.58 cm)
Edition of 20 (2 of 3 AP)
Published by Brand X Editions, NY
Courtesy of artist

 

John Morning is a New York-based printmaker whose work explores the optical effects of experiments in color, patterning, and hard line geometry. Morning has been a graphic designer, art director, and instructor at Pratt Institute, where he received his BFA. His earliest art instruction was at The Cleveland Museum of Art. Morning likens the strict color relationships in his prints to the structure of music, and favors the technique of silkscreen for its precision and saturation. His works are held in the collections of The Graduate Center CUNY, New York University, Rockefeller Brothers Fund, and Shearman & Sterling. Morning is a founding board member of IPCNY.

 

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JOHN NEWMAN
“Red Through and Through”, 2010
Lithograph
26 x 22.25 in (66.04 x 56.52 cm)
Edition of 15 (2 of 2 AP)
Published by Lawrence Lithography, MO
Courtesy of artist and Tibor de Nagy Gallery, New York

John Newman is a New York-based artist who extensive body of meticulously produced sculpture, drawings, and prints teeter between abstraction and representation, with an emphasis on materials, process, line, and color. His biomorphic and geometric forms are, at turns, full of humor and the cosmos. His works are held in the collections of The Museum of Modern Art, Metropolitan Museum, Whitney Museum, and Tate Modern, among others. Newman is the former Director of Graduate Studies in Sculpture at the Yale School of Art and currently teaches at the NY Studio School and School of Visual Arts, New York. The artist has been commissioned to create numerous sculptures, including for the City of Richmond, Dai Nippon in Tokyo, Storm King Art Center, and Grounds for Sculpture in Hamilton, NJ. Newman’s prints have been part of exhibitions at IPCNY including True Monotypes, curated by Janice Oresman, and three New Prints exhibitions (in 2003, 2004, and 2006). His work has been featured in several 2016 exhibitions, including at Tibor de Nagy Gallery, New York (2016), Anders Wahlstedt Fine Art. New York, and Beeler Gallery, Columbus College of Art & Design, Ohio.

 

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TOM OTTERNESS

“Wealthy Woman”, 1997
Etching
24 x 16 in (60.96 x 40.64 cm)
Edition of 40 (8 of 10 AP)
Published by Marlborough Graphics
Courtesy of Marlborough Graphics

Celebrated New York-based sculptor Tom Otterness (American, b. 1952) is widely known for his public commissions in major cities throughout the world, including in New York, where his installation Life Underground can be seen at the 14th Street/8th Avenue subway station. In these works, Otterness’ jovial, cartoonish figures are highly implicated in political discourse, with allusions to sex, class, money, and race. This print depicts a signature female character suited with a moneybag for a head. Otterness’ first solo exhibition was held at Brooke Alexander in 1983 and featured a white plaster frieze now permanently mounted on the Edward R. Roybal Federal Building in Los Angeles. He most recently exhibited in Metal on Paper: Silverpoint, Copperpoint & Steelpoint Drawings at Marlborough Gallery in 2015, where he is represented. His works are included in the public collections of The Museum of Modern Art, the Whitney Museum, the Guggenheim Museum, the Eli Broad Family Foundation, and the San Francisco Museum of Modern Art, among others.

 

108981-1462829659-P8_0516_IPCNY_Ringgold-xlFAITH RINGGOLD
“Here Comes Moses”, 2014
Screenprint
Work: 22 x 30 in (55.88 x 76.2 cm)
Edition: 164 of 200
Published by the Print Club of New York
Courtesy of Judith K. Brodsky

Commissioned by The Print Club of New York in 2014 as a part of Faith Ringgold’s (American, b. 1930) Jones Road series, this print draws on African-American experience, including the Underground Railroad and the Great Migration. Created at the Experimental Printmaking Institute at Lafayette College, this brilliantly colored print uses eleven different screens. An esteemed American painter, mixed-media sculptor, writer, speaker, and performance artist, Ringgold’s work was part of IPCNY’s second New Prints show in 2001. Her work is held in the collections of The Metropolitan Museum of Art, The National Museum of American Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum, The Boston Museum of Fine Art, Williams College Museum of Art, and The High Museum, among others.

 

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KATIA SANTIBAÑEZ

“A Ride on the New Haven Line”, 2010
Hard ground etching with aquatint and spit bite on Magnia Pescia paper
20.25 x 16.75 in (51.44 x 42.55 cm)
Edition: 10 of 25
Published by the artist. Courtesy of artist
A multidisciplinary artist working in painting, works on paper, video and photography, Katia Santibañez (French, b. 1964) moved to New York after graduating from Ecole Nationale Superieure des Beaux Arts. The artist has said of her work, “I am interested in the idea of world-making and bringing abstraction to another level. I am inspired by nature and architecture and I use the grid to organize the worlds I am creating…. My curiosity grows into the world of geometric abstraction opening the door for repetitions and differences, care and pleasure, the micro and the macro.” Santibañez has been featured in two IPCNY shows, including Artist’s Artists: James Siena, Josh Smith, and Charline von Heyl Collect Print and New Prints 2004/Summer. Her work is held in the collections of The Museum of Modern Art, Albright-Knox Gallery, Buffalo, and The Metropolitan Museum of Art, among others. She is represented by Morgan Lehman Gallery in New York and Texas gallery in Houston.
108987-1462031447-Shapiro_Miriam-xlMIRIAM SCHAPIRO
“Exter’s Dancer”, 1995
Lithograph with fabric collage
Work: 37.75 x 28 in (95.89 x 71.12 cm)
Edition of 30 (9 of 9 AP)
Published by Tandem Press, WI
Courtesy of Judith K. Brodsky

Painter, sculptor, and printmaker Miriam Schapiro (Canadian, 1923–2015) was a key figure in the development of feminist art in America, notably contributing to CalArts Feminist Art Program’s legendary installation Womanhouse. Schapiro first came to prominence in the mid-century New York School, citing the Abstract Expressionists’ all-over compositions as a major influence on her work. Exter’s Dancer (1995), a lithograph with fabric collage, is an example of “femmage,” a term the artist invented to create a space in fine art collage for the labor or women textile artists. Schapiro received numerous awards in her lifetime, and her work has been collected by The Museum of Modern Art, Smithsonian American Art Museum, National Museum of Women in the Arts, and Brooklyn Museum, among others.

 

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DANA SCHUTZ

“Backstroke”, 2012
3 color woodblock w/ 1 color photo-lithograph
17.75 x 12.25 in (45.09 x 31.12 cm)
Edition of 25 (PP 1 of 10 AP)
Published by EAB Benefit Pint/ Susan Inglett/ Prints of Darkness, NY
This brilliant three-color woodblock with photolithography by painter, draftsman and printmaker Dana Schutz (American, b.1976) was created as a special edition for the 2012 Editions/Artists’ Book Fair, which was postponed in the aftermath of Hurricane Sandy. This print, originally planned as an edition of 200, was subsequently released in a more limited edition of 25. Schutz is a New York-based artist who received her MFA from Columbia University. In her malleable and transitional worlds, Schutz has said, “Still lifes become personified, portraits become events and landscapes become constructions.” Her work was part of IPCNY’s 2015 exhibition True Monotypes curated by Janice Oresman and has been included in major group exhibitions such as Greater New York at PS1 Contemporary Art Center and After Nature at the New Museum. She has been featured in solo exhibitions by the Musée d’art contemporain de Montréal and the Miami Art Museum. Schutz’s work is held in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, and the San Francisco Museum of Modern Art, among others. She is represented by Petzel Gallery in New York.
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JOEL SHAPIRO

“Untitled”, 1989
Linocut and woodcut on Japanese paper
Work: 36.75 x 25.5 in (93.35 x 64.77 cm)
Edition: 21 of 28
Published by Grenfell Press, NY
Courtesy of Christopher Gaillard

Joel Shapiro (American, b. 1941) is a sculptor and draftsman renowned for his dynamic compositions of simple rectangular shapes evocative of figuration. Shapiro’s drawings and prints, like his sculptures, defy constraints of space, energizing their surroundings through the strategic placement of form and color on paper. Shapiro’s prints are currently on view in the exhibition Talking on Paper at Pace Beijing. Since his first exhibition in 1970, Shapiro has been the subject of more that 160 solo exhibitions and retrospectives. His work is held in the collections of The Museum of Modern Art, Whitney Museum, and National Gallery of Art, among many others. His work has been featured in two exhibitions at IPCNY, Artists Collect: Prints from the Collections of Sol LeWitt, Kiki Smith, Philip Taaffe and Richard Tuttle and New Prints 2010/Spring. Shapiro is represented by Pace Gallery in New York and Galerie Templon in Brussels.

 

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JAMES SIENA

“Sagging Grid”, 2006
Reduction linocut
34.313 x 27.75 in (87.16 x 70.49 cm)
Edition of 65
Published by Pace Editions
Courtesy of artist

James Siena (American, b. 1957) is a New York-based artist whose complex, rule-based abstractions in painting, sculpture, and works on paper are “visual algorithms” designed by Siena. Yet these intensely concentrated, often vibrantly colored geometric patterns are rendered, surprisingly, freehand. Siena works across a diverse range of print mediums, including lithography, etching, woodcut, and linocut. His work is held in the collection of the Museum of Fine Arts, Boston, San Francisco Museum of Modern Art, The Metropolitan Museum of Art, The Museum of Modern Art, and the Whitney Museum, among others. A long-time advocate of IPCNY, Siena was featured in the print center’s first gallery show, New Prints 2000 and in four subsequent installations. Siena also served as the artist-juror for IPCNY’s New Prints 2007/Spring and was featured in the exhibition Artist’s Artist: James Siena, Josh Smith, and Charline von Heyl. Siena is represented by Pace Gallery in New York and actively collaborates with a variety of printmaking and papermaking workshops.

 

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KIKI SMITH

“Mind’s Eye”, 2015
Watercolor and pencil on paper
11.5 x 8 in (29.21 x 20.32 cm)
Published by Thirteen Moons, NY
Courtesy of artist, Thirteen Moons
Kiki Smith (American, b. Germany, 1954) is among the most influential artists of her generation, having reintroduced the figure as an important realm of artistic investigation in the 1980s. This delicate drawing typifies Smith’s embrace of unique paper works and her humanist themes of the enduring yet fragile nature of life. Smith has also worked with a range of printmaking techniques from rubberstamps to the digital, and is considered among the leading printmakers today. Smith’s works on paper have been featured in solo exhibitions at the Walker Art Center and at The Museum of Modern Art. She is represented by Pace Gallery in New York, and has long-standing collaborative relationships with printers and publishers around the world; she also publishes under her own imprint Thirteen Moons. Smith’s prints are currently on view in IPCNY’s exhibition Suspended Animation: Moving Images in Print. Her works have been on two other occasions at IPCNY, and Smith herself was the artist-juror of IPCNY’s New Prints 2005/Spring exhibition.
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DONALD SULTAN

“Roses April 20 1992”, 1992
Screenprint
23 x 22 in (58.42 x 55.88 cm)
Edition: 13 of 25 AP
Published by Parasol Press, OR
Courtesy of artist

 

Donald Sultan (American, b. 1951) is a New York-based painter, draftsman, and printmaker whose signature dichromatic, shadow-like style features elevated renderings of lemons, poppies, eggs, playing cards, and other everyday and natural objects. Sultan has described his aesthetic as “heavy structure, holding fragile meaning”, with the ability to “turn you off and turn you on at the same time.” Sultan is a native of North Carolina, who studied at Chapel Hill and at the Art Institute of Chicago. His work is held in the collections of the Hirshhorn Museum and Sculpture Garden, Museum of Fine Arts Boston, and The Museum of Modern Art, among many others. Sultan is represented by Mary Ryan Gallery in New York.

 

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CHARLINE VON HEYL

“Hawk Moths”, 2016
Lithograph
47.25 x 31.5 in (120.02 x 80.01 cm)
Editions: 7 of 30
Courtesy of artist and Arber & Son Editions
Charline von Heyl (German, b. 1960) is a New York-based painter whose has described her reason for painting as a desire to invent an image that has not yet been seen and cannot be named. Her approach to abstraction is paradoxical and dynamic, combining deep flat space, vivid color, and static gestures with opposing speed. Von Heyl’s extensive body of works on paper is a hybrid form of drawing, collage, and print, often combining numerous printmaking techniques within each composition. The artist’s newest lithograph, Hawk Moths at Night, was just completed at Arber & Sons Editions in Marfa, Texas this Spring. Von Heyl has been the subject of solo exhibitions at The Institute of Contemporary Art, Boston (2012), Tate Liverpool (2012), Institute of Contemporary Art, Philadelphia (2011), and Petzel Gallery in New York, where she is represented and regularly exhibits (most recently in 2015). Her work is held in the collections of the Museum of Contemporary Art, Los Angeles, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art, among others. Von Heyl’s work was featured in IPCNY’s 2014 exhibition Artists’ Artists: James Siena, Josh Smith, and Charline von Heyl Collect Prints.
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DIANA WEGE

“Montaña”, 2012
Lithograph
30 x 22.25 in (76.2 x 56.52 cm)
Edition: 47 of 50
Courtesy of artist
This print by Diana Wege, created with renowned print studio Derriere L’Étoile in New York, is part of the artist’s vast series 50 States. Wege is a painter, draftsman, printmaker whose comprehensive body of work, 50 States, reflects the artist’s wide-ranging travel focused on scenes of National Parks and nature conservancy throughout the United States. Earlier this year, this lithograph was also featured in the 15th Anniversary Auction for The Brooklyn Rail at Pace Gallery in Chelsea. Other series by Wege have focused on history and social issues. Wege has had solo exhibitions at Interlochen Center for the Arts and Grand Rapids Art Museum, both in Michigan; the Palitz Gallery, Syracuse University; and the U.S. Department of the Interior Museum, Washington, DC. Wege’s work is held in the collections of Easter Connecticut State University, Grand Rapids Art Museum, Syracuse University Art Collection, Eastern Connecticut State University, and the Wilderness Society. Wege is a trustee of IPCNY.
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TERRY WINTERS

“Atmospheres (1)”, 2014
Screenprint
58.5 x 44.25 in (148.59 x 112.4 cm)
Edition of 20 (TP 1 of 2 AP)
Published by Two Palms, NY
Courtesy of artist and Two Palms, NY

Terry Winters (American, b. 1949) is New York-based painter, draftsman, and printmaker whose early work of the 1980s explored biomorphic forms and non-narrative abstractions of organic shapes; today, he continues with complex, process driven works built up through systems and layers consistent with the physicality of Modernism. His works frequently shift from large to small scales and back again, as he reorients his compositions; this monumental print is a quintessential statement. He is among the most dedicated printmakers working today. Of the medium the artist has said, “It’s a challenge. The method is indirect and forces a higher degree of intention. It necessitates a series of transfers and reversals that complicate the working process. I enjoy that difficulty—or find it useful. Printing gives me some distance from my paintings and drawings and helps me see them in new ways.” Winters made his solo exhibition debut at the Sonnabend Gallery in 1982, and has gone on to solo exhibitions at the Tate Modern, the Whitney Museum, the Irish Museum of Modern Art and the Museum of Fine Arts Boston. His work is held in collections including The Museum of Modern Art, Museo Nacional Centro de Arte Reina Sofía, Museum of Contemporary Art in Los Angeles, and the Detroit Institute of Art. Winters is represented by Matthew Marks Gallery.

 

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BETTY WOODMAN

“On the Way to India”, 1988
Lithograph
28 x 53 in (71.12 x 134.62 cm)
Edition: 7 of 65
Published by Solo Impression, NY
Courtesy of Solo Impression Inc.

Betty Woodman (American, b. 1930) lives and works in both New York City and Italy and is recognized as one of the most important ceramicists today. Her bright, painterly works include vessels, platters, installations, and works on paper. This print reflects Woodman’s consistent use of the vase, as she explained: “the centrality of the vase in my work is certainly a reference to a global perspective on art history and production.” This motif connects different styles and inspiration in her work, from classic Greek pottery to Japanese prints to color palettes found in a Hindu temple. In 2008, she won the Modernism Design Award for Lifetime Achievement from the Brooklyn Museum and had a retrospective at the Metropolitan Museum. Her work was included in IPCNY’s New Prints 2004/Summer. Woodman is represented by Salon 94 in New York.

 

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CHRISTOPHER WOOL

“Untitled”, 2014
Soft ground etching with drypoint
20 x 16 in (50.8 x 40.64 cm)
Edition: 5 of 20
Published by Edition Jacob Samuel, CA
Courtesy of Jacob Samuel
Christopher Wool (American, b. 1955) is a New York-based artist best known for large paintings of printed letters and abstractions on white grounds that utilize an array of techniques, including spray paint, stencil, silkscreen, and hand painting—often repeating motifs from work to work. Wool has created a substantial body of prints on paper over his career. This recent print is part of a body of etchings and drypoints Wool created in collaboration with master printer Jacob Samuel in Los Angeles—a renowned yet highly specialized publisher with whom Wool continues to actively work. This intimate composition relates to Wool’s monumental abstract bronze sculptures from 2014, which were shown at Luhring Augustine in 2015 alongside the related prints. Wool’s critically-acclaimed retrospective was held at the Solomon R. Guggenheim Museum in 2013, and his work is held in the collections of The Museum of Modern Art, the Tate Modern, and the Centre Pompidou, among others. Wool’s prints have been included in several IPCNY exhibitions, including True Monotypes; Artist’s Artists: James Siena, Josh Smith, and Charline von Heyl Collect Prints; and New Prints 2001/Summer. He is represented by Luhring Augustine Gallery in New York.
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CHRISTOPHER WOOL

“Untitled”, 2014
Soft ground etching with drypoint
20 x 15 in
Edition: 9 of 20
Published by Edition Jacob Samuel, CA
Courtesy of Jacob Samuel
Christopher Wool (American, b. 1955) is a New York-based artist best known for large paintings of printed letters and abstractions on white grounds that utilize an array of techniques, including spray paint, stencil, silkscreen, and hand painting—often repeating motifs from work to work. Wool has created a substantial body of prints on paper over his career. This recent print is part of a body of etchings and drypoints Wool created in collaboration with master printer Jacob Samuel in Los Angeles—a renowned yet highly specialized publisher with whom Wool continues to actively work. This intimate composition relates to Wool’s monumental abstract bronze sculptures from 2014, which were shown at Luhring Augustine in 2015 alongside the related prints. Wool’s critically-acclaimed retrospective was held at the Solomon R. Guggenheim Museum in 2013, and his work is held in the collections of The Museum of Modern Art, the Tate Modern, and the Centre Pompidou, among others. Wool’s prints have been included in several IPCNY exhibitions, including True Monotypes; Artist’s Artists: James Siena, Josh Smith, and Charline von Heyl Collect Prints; and New Prints 2001/Summer. He is represented by Luhring Augustine Gallery in New York.