Additional Material

Archive for the ‘Contemporary’ Category

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

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

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

New works by Donald Forsythe

February 8th, 2015

Donald kindly provided the following statement about this excellent new series of unique prints:

These recent prints are the result of experimentation carried out over the last two years with processes that have been dubbed low tech methods. The layers have been printed from found plywood, re-purposed Plexiglas plates, and wood reliefs drawn with shop tools like the Dremmel engraver, ball grinders, and the plunge router. I became particularly interested in reflective mylar collographs layered to resemble open bitten etching plates, and enjoy the painterly effects rendered from tarlatan wiping and the transparency of the printed surface.

Beyond these processes, I think of these works as a kind of cumulative interior architecture.  To me they suggest memory, travel, and the passage of time; fragility, brokenness, and the will to order things—to make meaning out of experience.

We are happy to show you the rest of the group.  Call to visit 215-732-7787 or email info@DolanMaxwell.com for images.

Interior/Exterior; Interior #1; Interior #4

Interior/Exterior; Interior #1; Interior #4

 

 

Large scale drawings by Michael Canning

November 28th, 2014

We have just received two monumental works on paper by Michael CanningUntitled II, 2012 is a powerful work standing tall at 85 x 58 1/2″ inches.  Juxtaposed against the vast space Canning creates with conventional perspective techniques a frail but strong plant flowers in bright, hopeful contrast to the deepening sky.  The ground from which it grows is a sooty black and the paper on which all this happens is a collage of worked and reworked surfaces.   We will show this and another of the same scale at INK Art Fair, Miami Beach

Michael Canning, Untitled II 2012, soot, charcoal, acrylic, ink  on paper

Untitled II 2012

Red Music by Michael Canning

May 8th, 2014
Michael Canning, Red Music, 2014, ink, acrylic, soot, charcoal, graphite & collage, 48 x 36"

Red Music, 2014

We are very pleased to share an image of Red Music, Michael Canning’s new drawing that incorporates charcoal, soot, ink, acrylic paint, graphite & collage elements.  The scale is grand at 48 x 36″ and Michael matches the fragile and yet defiant beauty of this flowering plant with his rugged, almost brutal treatment of the paper and chosen materials.

 

Drawings by Mark Goodwin @ INK

December 2nd, 2013

Mark Goodwin writes of his work,”I am the maker. In fact I am in many ways a very skilled maker, but my work is often about ignoring those skills. When trying to lose control of your skills to let things happen otherwise, it is a push pull, going back and forth between in control and not being in control. Taking crude material and transforming it into something where it becomes something more than what it was.”

Goodwin brings tremendous skill to his works on paper which are often heavily worked — the paper is creased from behind to form patterns, from the other side ridges hold paint that is then abraded and perhaps repainted. Mark Goodwin maps out a pattern or system that sets up a way to understand what happens in his work. But the system willfully turns on itself and we are required to slow down for some further looking and only then we become aware of other layers of simultaneous information. Like a well crafted story the work is only fully comprehended after all meanings are given full consideration. Like the reader, the viewer is rewarded for a careful read of Mark Goodwin.

Mark Goodwin Viewing Room, milk paint & collage

Mark Goodwin Viewing Room, milk paint & collage, 30 x 22″

New Sarah Lutz monoprints @ INK

December 1st, 2013

Sarah Lutz’s new abstract monoprints layer fields of bright strong color with cellular and flower imagery to create a sense of weightlessness. Elements appear to float in a color based environment while scale changes imply deep or infinite space.
Sarah has exhibited nationally and most recently at the Painting Center in New York. Lutz was also recently awarded a residency at MAPspace in Port Chester, NY where she developed a collaborative installation.

Sarah Lutz Hanging Garden Series V, monoprint

Sarah Lutz Hanging Garden Series V, monoprint