Additional Material

 

Krishna Reddy’s color viscosity intaligo prints

August 1st, 2017

We have a great selection of early and innovative prints selected from Krishna Reddy’s studio.  We are happy to send images and information.  Please contact us: info@dolanmaxwell.com

“I first met Krishna in the early fifties.  He was studying sculpture with Ossip Zakine in Paris.  Zadkine sent Krishna to me because he felt that this young Indian artist also possessed remarkable graphic talents that the atmosphere of the Atelier 17 might allow to develop fully.  Thus it was the sculptural aspect of printmaking that he commenced to develop: not as many other sculptors the repetition of the sculptural drawing nor the representation of sculptures realized or to be realized, but rather the plate as a sculpture in itself and its amplification by means of print.  Thus, whereas a sculptor can erect a framework in space, an object having the relations between internal and external space, in a print made from a sculptured surface it is entirely possible to invert the space of the structure and to exchange the internal with the external space.  This characteristic ambiguity, not in the sense of confusion, but rather in the sense of multiple linked expressions he elaborated not only in black and white but in a very curious and original use of the function of color as space. Others have used the simple consequences of color opposition to demonstrate space as cold color against warm color, tone against a complementary.  Krishna however employed extremely subtle variants of color carried the hollows of a plate going far beyond simple sculptural relief giving as a result a complex web in which light itself becomes the medium of sculpture”.

Stanley William Hayter
Introduction, Krishna Reddy: A Retrospective
Bronx Museum, 1982

Krishna Reddy, Butterfly, 1952 color trial proof

Butterfly, 1952 color trial proof

An important painting on paper by Norman Lewis

February 28th, 2017

Born in Harlem and working within New York City’s downtown art scene, Norman Wilfred Lewis (1909-1979) first began painting in a figural style grounded in social realism, focusing on bread lines, police brutality, and the struggles of black Americans. Lewis transitioned to a more abstract style of art during the 1940s and 1950s, continuing to focus on social inequalities but growing increasingly interested in personal expression rather than representation. Lewis’s shift to abstraction was driven in part by his realization that reproducing or mirroring social conditions did not adequately reflect his goals as an artist. At the same time the subjects of race and civil rights reclaimed Lewis’s work in a profound way in the 1960s.  Works like Untitled 1961 address political activism and humanitarian concerns through hazy visuals inspired by clandestine Ku Klux Klan gatherings and political marches and Labor Day parades.

The Pennsylvania Academy of Fine Art organized Procession, a major retrospective of Lewis’s works in 2016, which traveled to the Amon Carter Museum and the Chicago Cultural Center.  Curator and author Ruth Fine received a 2017 award of distinction from the College Art Association for the Norman Lewis exhibition catalogue.

UNTITLED 1961, oil on paper, signed and dated in recto

UNTITLED 1961, oil on paper, 19 x 26″

New etchings by Stan Whitney

January 7th, 2017

We are pleased to offer an important new group of eight etchings by Stanley Whitney (born 1946, Philadelphia, PA).  Whitney is a 2016 USA Jeanne & Michael Klein Fellow.  His 2015 exhibition at the Studio Museum in Harlem brought a new level of critical and market notice.  This brand new series of large etchings show Whitney continuing his exploration of abstract motifs—the layering and stacking of grid and gesture, line and shape.  Whitney was a Guggenheim Fellow in 1996.

Stan Whitney 8 Untitled etchings 2016, edition 18

From top left, numbers 1-8
edition 18, each image 19 1/2 x 24 3/8″ each sheet 29 1/8 x 32 1/2″

 

Anders Bergstom

October 31st, 2016

Anders Bergstrom’s  Brown Bag Test is emblematic of everyday commerce and discrimination. Each series of bags is unique.  The Metropolitan Museum of Art acquired a set, Brown Bag Test, December 21, 2014, Proof and Counterproof, and it is handsomely installed in the rotating prints gallery #690.  From their label, “The brown paper bag is both a quotidian and a designed object.  Bergstrom creates miniature replicas with details such as jagged edges, seams, and inked numbers that are imitative of a bar code but which actually corresponds to the artist’s zip code.  This work’s title references the discriminatory practice in which an individual’s complexion is judged against the color of a brown paper bag, yet Bergstrom does not privilege one bag over another, instead arranging them on a spectrum from light to dark.”

Anders has explored the everyday paper bag in it’s multiple states of use–replicating the grease-stained and the crumpled.   Anders’s printed works are included in the permanent collections at the Metropolitan Museum of Art, Yale’s Beinecke Library, Smith College Museum of Art and the New York Public Library.  The Met’s  Brown Bag Test, December 21, 2014, is on view thru early January 2017.

Brown Bag Test August 02, 2016

Brown Bag Test August 02, 2016

Brown Bag Test December 21, 2014, Proof and Counterproof installed @ the Met

Brown Bag Test December 21, 2014 installed @ the Met

A large scale, unique woodcut by Matthew Colaizzo

September 17th, 2016

We are pleased to share a dramatic new work by this Philadelphia native.  Colaizzo’s work focuses on landscapes that blur the line between natural and unnatural. It contextualizes man’s mark on the earth with a broad view of nature. It involves ideas about natural history, cosmos, human progress, mystery, and spirit.

This large (36 x 96″), work was made by using multi-block woodcuts printed by hand to create landscapes that are inspired by the coal industry’s mark in Northeastern Pennsylvania. The scarred earth and mountains of coal are evidence of “human progress,” symbolizing man’s relationship with the earth, trying to seize and conquer it for our own benefit rather than relish in its mysteries.  With A Place on Earth, Matt takes inspiration from a contemporary landworks project– a highway rebuilding site that is both immediate and seemingly far removed from a densely populated city.

 

Matthew Colaizzo, A Place on Earth, 2015, unique woodcut

A Place on Earth, 2015

Alfred Bendiner’s Philadelphia

July 28th, 2016

Alfred Bendiner’s “And So I Give You Our Candidate and the Next President of the United States of America” 1948 captures the energy of convention week then and now in Philadelphia. Bendiner was trained as an architect but is better known as a celebrated cartoonist for the Philadelphia Bulletin known for his wry humor and social commentary. One can only imagine what he’d make of our 2016 presidential race.

This work was made in 1948 when both the Democratic Party Convention and the G.O.P. Convention were both held in Philadelphia.  We believe the wreathed candidate is Thomas Dewey, who famously lost to Harry Truman and became one of our most admired presidents.

We have an excellent selection of works by Bendiner (1899-1964).  Please ask for more images or, even better, come visit to see them face to face.

And So I Give You Our Candidate, 1948

And So I Give You Our Candidate, 1948

New works on paper by Nona Hershey

March 1st, 2016

Nona Hershey continues to explore cloud imagery.  Her newest drawings juxtapose the ephemeral nature of clouds with flat color in highly formal patterns.  Grids of bright act in opposition to the soft gray atmospheric tones and then bring to mind abstracted farmed fields.  Nona’s choice of spectral colors to bring to mind the phenomenon of rainbows.

Weather patterns and wave lengths have appeared earlier works and linger within these fresh new drawings to evoke land and sky in a fresh and surprising way.

Nona Hershey Unsettled 2015 graphite powdery & gouache

Unsettled 2015

watercolor paintings & lithographs by Robert Riggs

February 16th, 2016

We are pleased to offer an excellent selection of watercolors and lithographs by Robert Riggs (1896-1970).  Riggs was one of the greatest artist-illustrators when publishing supported illustrators on a large scale.  Riggs’ success enabled him to travel around the world in the mid-1920s and included a stop in Algeria where he made our group of watercolor paintings.  Upon returned to Philadelphia he immersed himself in making lithographs, part of what he considered “dry medium”.  He began working with printer Theodore Cuno but soon decided he required a more experimental collaborator and found his way to George Miller in New York.  Riggs’ lithographs are held by museum collections throughout the USA and in England.  His subjects were the circus—he attended every performance when Barnum & Baileys set up their show in Philadelphia and befriended the performers.  Boxing was his other great passion.  Riggs produced images that put the viewer up close to the action if not in the ring.

Clown Acrobats, On the Ropes, Club Fighter & Bou Saada, Algeria lithographs and a watercolor by Robert Riggs

Clown Acrobats, On the Ropes, Club Fighter & Bou Saada, Algeria

Rare Modernist intaglio works by Helen Phillips

October 20th, 2015

American sculptor and print maker Helen Phillips born 1913, Fresno, California.  She studied at the School of Fine Art in San Francisco and learned direct carving techniques from Ralph Stackpole, who introduced her to Diego Rivera but Phillips was more excited by Oceanic and Pre-Columbian art than Social Realism.    Phillips won Phelan Traveling Fellowship which allowed her to work in Paris in 1936.   There, she entered Atelier 17, the intaglio print workshop where she met it’s founder and future husband, Stanley William Hayter. Learning to engrave copper in Paris had an important impact on the development of her sculpture, forcing her to become conscious of negative space.  She fled to New York in 1939 and became a pioneer of the New York School, exhibiting with Wilfredo Lam, Roberto Matta, David Hare, Isamu Noguchi and Arshile Gorky.
Phillips’s sculpture and intaglio prints are in the permanent collections of the Albright Knox Gallery,  Peggy Guggenheim, Venice,  Dallas Museum of Art, Smithsonian American Art Museum, San Diego Museum of Art. San Francisco Museum of Modern Art, MOMA, New York, DeYoung Museum, San Francisco, Princeton University Art Museum and the Victoria and Albert Museum, London.  She died in New York in 1995.

Helen Phillips, Danseuses, c. 1959 and Saltimbanques, 1954

Danseuses, c. 1959 and Saltimbanques, 1954

A new drawing by Tom Roese

August 7th, 2015

Tom Roese recently made a visit to Israel and as he never stops thinking about what he sees, he made this drawing when returned to his studio.  What at first seems to be a keenly observed view of urban housing soon becomes something much more complex.  Quietly modulated color and a cadence of architectural forms reward a careful look at this masterful drawing.  We will exhibit this and other recent drawings at the Cleveland Museum of Art’s 31st Annual Fine Print Fair, a benefit for the museum’s Prints and Drawings collections organized by the Print Club of Cleveland.

Tom Roese, Israel 2015

Israel 2015