NEW RELEASE: Beatriz Milhazes

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Purple Dahlia | Screenprint and Woodblock | Edition of 30

Durham Press is pleased to present two ambitious new works by Beatriz MilhazesPurple Dahlia and Mother’s Day. Both harness woodblock and screenprinting to create strong linear compositions that are a vibrant hybrid of tropical ornamentation and modernist abstraction.

Among Milhazes’s largest prints with Durham Press, Purple Dahlia measures 60 1/4 x 78 3/4 inches. While the title references a flower, geometric motifs take precedence over the work’s botanical imagery. Circles of various sizes float in the center of the print, then recede from view amid the parallel horizontal lines appearing all over the paper. The lines recall bead-like chains and rippling water. Purple Dahlia is visually dense, with nearly its entire surface covered in different patterns or shapes. The many semi-transparent inks, however, lend the composition a sense of lightness—a density more akin to wildflowers in a breezy field than a congested city street.

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Mother’s Day | Screenprint, Woodblock & Gold Leaf | Edition of 40

The narrow, vertical format of Mother’s Day—it measures 51 7/8 x 17 inches – recalls the artist’s recent sculptural work, which hangs from the ceiling and reaches down to the floor. Like Purple DahliaMother’s Day features densely configured lines, with multiple layers resembling cut-out strings of pearls and branches of leaves as well as the negatives, or “left-over” trimmings, of these shapes. By stacking, layering, and adding more components, including the diagonal plaid that appears in several places, Milhazes ambitiously adds further complexity to the art-historical sources the print obliquely references.

Purple Dahlia, Mother’s Day, and several other works by Beatriz Milhazes are available through Durham Press. For more information, please contact Gwyneth Fearnhead, [email protected]


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IN THE STUDIO: MOTHER’S DAY

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New Release: Jacob Hashimoto | Lemmata

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Lemmata | 2015, Portfolio of Five Hard Ground Etchings with Aquatint, 27 1/2 x 27 1/4 inches, Ed. 25

Durham Press is pleased to announce a new portfolio with artist Jacob Hashimoto titled Lemmata, a series of five hard ground etchings with aquatint. The prints, which are available as a set or individually, each measure 27 1/2 x 27 1/4 inches and are published in an edition of 25.

Each of Hashimoto’s Lemma (or a mathematical theorem that validates a larger proof; the singular form of “lemmata”) resembles a diagram for one of his wall sculptures. Composed of thousands of handmade bamboo-and-paper kites that have been suspended with strings, these sculptures invite associations with painting as well as textiles. While his diagrams are the starting point for these kite sculptures, Hashimoto presents the prints as finished artworks in themselves. Each image is both a metaphorical building block—even cornerstone—of a yet-to-be-constructed object and also that object’s barest, most essential form. At once complete and, in a sense, preliminary, the Lemmata explore the creative process and how ideas take shape and progress.

Like Hashimoto’s kite sculptures, the prints are informed by and expand on the landscape genre. Rather than presenting a single orderly expanse, he creates “collages of different types of optical space,” with references to landscape-based abstraction, modernist utopian architecture, and virtual environments such as Minecraft and Google Maps. Lemmata’s precise lines, initially hand-drawn by Hashimoto and transferred to AutoCAD, relate to these computer-generated worlds. Areas of plate tone and aquatint—a much more approximate process—contrast with the exactness of the etching by revealing marks of hand production. The artist employed both digital and centuries-old techniques, calling attention to past and present representations of landscapes, as well as the technologies that have inspired and propagated them. The prints consider how our notions about landscapes are constantly changing, as is how we understand and interact with our surroundings.

Lemmata is Jacob Hashimoto’s first project with Durham Press. For more information please contact Gwyneth Fearnhead, [email protected].

Jacob Hashimoto (b. 1973, Greeley, Colorado) is a New York–based artist who uses sculpture, painting, and installation to create complex worlds from a range of modular components: bamboo-and-paper kites, model boats, even Astroturf-covered blocks. His solo exhibitions include LA MoCA’s Pacific Design Center; Rice Gallery, Rice University, Houston; Museum of Contemporary Art of Rome (MACRO); Fondazione Querini Stampalia, Venice; Mary Boone, New York; Rhona Hoffman Gallery, Chicago; Studio La Città, Verona; and Galerie Forsblom, Helsinki. His work is in the collections of the Los Angeles County Museum of Art (LACMA), Saastamoinen Foundation, EMMA, Espoo, Finland; Schauwerk Sindelfingen, Germany; The California Endowment, Los Angeles, and numerous others.

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New Release: Hurvin Anderson | Mirror: Don’t Look Back

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Mirror: Don’t Look Back | 2015, Intaglio/Relief Collograph, Screenprint, Gold/Silver Leaf, 35 7/8 x 28 1/2 inches, Ed. 9

Durham Press is pleased to announce the completion of a new portfolio of prints by British artist Hurvin Anderson. Titled Mirror: Don’t Look Back and comprised of ten works measuring 35 7/8 x 28 1/2 inches, the portfolio combines intaglio and relief collograph, screenprint, and gold and silver leaf. It is published in an edition of nine.

In Mirror: Don’t Look Back, Anderson presents ten different adaptations of a single composition: a circle hanging slightly below center on a gray flower-patterned background. This collographic floral motif appears in each print, varying in shade and in the weight of the lines. The imagery within the circle changes more drastically throughout the portfolio. In one print, the “mirror” seems to clarify its surroundings; the circle features a sharper, more intelligible floral pattern. In another, the mirror has a transformational effect, with the luminosity of gold leaf contrasting with the relatively dull backdrop. Still others obscure the pattern encircling them, appearing as hazy orbs that Anderson has imbued with an almost otherworldly mystique.

Through repetition and subtle variation, the portfolio continues to develop themes common to Anderson’s work, such as the intersections of place and memory and familiarity and estrangement. Similar to his suite of paintings Peter’s Series—which was the subject of critically acclaimed exhibitions at the Tate Britain, London, and the Studio Museum Harlem, New York—the images in Mirror: Don’t Look Back fluctuate between abstraction and representation. Anderson employs a seemingly reticent geometric composition and largely unsentimental color scheme, but the title and the wallpaper-like backgrounds invoke connections to personal, intimate moments and to the home. The slight differences between the images further their elusive quality. It is unclear if the portfolio depicts ten mirrors that are alike, or if there is only one mirror that has been illuminated, obscured, and tarnished through the workings of time and memory.

Hurvin Anderson was born in 1965 in Birmingham, UK. He studied painting at the Wimbledon College of Art and received his Masters from the Royal College of Art in 1998. Anderson’s paintings have been exhibited in several solo shows, including “Art Now,” Tate Britain, London, 2009; “Peter’s Series,” Studio Museum Harlem, New York, 2009; “Subtitles,” Michael Werner, New York, 2011; “reporting back,” Ikon Gallery, Birmingham, UK, 2013; “New Works,” Thomas Dane Gallery, London, 2013; and “Hurvin Anderson: Backdrop,” Contemporary Art Museum St. Louis, Missouri, 2015. Anderson has received many awards, including a residency at Dulwich Picture Gallery, London, a research fellowship at Cheltenham and Gloucester College, and the Caribbean Contemporary Arts Residency Programme, Trinidad. His work is in significant collections, such as the Saatchi Gallery in London and the Museum of Modern Art, New York. He lives and works in London.

Mirror: Don’t look Back will be on view at both the IFPDA Print Fair and Art Miami.

For pricing and availability on Hurvin Anderson’s prints, please contact Gwyneth Fearnhead, [email protected]

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New Release: James Nares |Before the Rain + Early Days

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Durham Press is proud to announce the release of two new editions by James Nares entitled, Before the Rain and Early Days. Each print measures 46 7/8 x 34 3/4 inches and is an edition of 48.

Nares’ inspiration stems from movement and gesture. Using his own crafted brushes, Nares’ work is often composed of a single brushstroke, which he will often erase and repeat until he finds a final stroke that balances both form and spontaneity.

For pricing and availability, please contact Gwyneth Fearnhead, [email protected]

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New Release: Polly Apfelbaum | Time Machine Series

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Byzantine Time Machine 4 | 2014, Woodblock Monoprint, 37 x 70 inches

Durham Press is pleased to present a new series of woodblock prints by Polly Apfelbaum. Inspired, in part, by her time spend abroad as a recipient of the 2012-13 Rome Prize, these profound works reference the artistic and craft traditions of Italy and offer fresh perspectives on many themes that Apfelbaum has explored throughout her career.

Baroque Time Machine and Byzantine Time Machine are monoprint series in two sizes, 37 x 70 inches and 79 x 79 inches, which feature powerful, vertical lines. Their titles simultaneously suggest backward and forward temporal movement, signaling historical influences and new aesthetic directions. While the compositions of the two series recall some of her rug and fabric works, the addition of black – used sparingly in some prints and frequently in others – creates a more complex color palette and gives the prints “the weight of drapery,” says Apfelbaum. Conversely, the contrast provided by black ink makes certain colors radiate with fluorescent-light-like intensity.

The fluorescence of the dramatic monoprints is further emphasized by Apfelbaum’s employment of split fountain or “rainbow roll” techniques, in which multiple colors are partially mixed to achieve a continuous gradient effect. In the Time Machines, she features rainbow rolls across elongated surfaces, while with her large, diamond monoprints – Galla Placidia, Boethius, Rusticiana, Servilia Caeponis, Aurelia Cotta, Porcia Catonis – the technique is used on much smaller woodblocks. Inspired by the intricate patterns of Cosmati floors, the matrixes for these complex diamond prints are similarly crafted with roughly 1500 hand-laid, mosaic-like blocks. The geometric and chromatic variations throughout the prints give them a dynamism befitting of their titles, most of which refer to influential Roman women. Apfelbaum’s two new editions, Emperor Twist and Empress Shout, engage a similar diamond and zig-zag pattern on a more intimate scale. Completed after the Cosmati-inspired monoprints, Twist and Shout continue to explore variations in color and shape through an “intuitive but structured process.” The development and realization of this process has resulted in a prolific year of collaboration, and this new body of work represents Apfelbaum’s most ambitious and challenging prints to date.

 

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New Release: Chitra Ganesh | Architects of the Future

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Architects of the Future | 2014, Woodblock and Screenprint, Ed. 25

Durham Press is proud to present Chitra Ganesh’s portfolio of prints, Architects of the Future.  The portfolio consists of four woodblock and screenprints in an edition of 25.  The prints measure 25 3/4 inches in height and range from 18 to 44 inches in width, and they combine between 15 and 40 impressions each.

In her drawing, painting, installation, text and film works, Ganesh excavates histories that typically have been excluded from the canons of literature and art.  She draws from a broad range of material including the iconography of Hindu, Greek and Buddhist mythology, 19th-century European portraiture and fairytales, song lyrics, as well as contemporary visual culture such as Bollywood posters, anime, and comic books.  Through a process of automatic writing, Ganesh probes these sources and narratives to uncover moments of absence and submerged desire.

In Architects of the Future, Ganesh integrates the visual language of 60s and 70s science fiction with imagery loosely inspired by the Amar Chitra Katha–a long-running comic series that portrays traditional Indian epics, history, and mythology.  The four prints form a nonlinear narrative of “unforseen desire and untimely loss” that occur in an alternate world in an imagined past and a distant future.  Within this retro-futurist universe, bodies, like time, are fluid.  They are doubled, dismembered, as well as exceeding their limits and extending into their surroundings.

By exploring bodies, space, and history through disparate visual languages, Ganesh asks her viewers to seek and consider alternate narratives of sexuality and power.  There are always untold stories trying to rise to the surface.

Chitra Ganesh is a Brooklyn-based artist who works–often collaboratively–in many disciplines, including drawing, painting, film, and text.  She holds her BA in Comparative Literature and Art Semiotics from Brown University and an MFA from Columbia University.  She is also an alumnus of Skowhegan School of Painting and Sculpture and a 2012 recipient of the John Simon Guggenheim Memorial Foundation Fellowship in the Creative Arts.

Currently, she is an Artist-in-Residence at New York University’s Asian/Pacific/American Institute and the first Kirloskar Visiting Scholar in Painting at the Rhode Island School of Design. She has also been spending much of her time in India, where she has been extensively studying Indian comics and visual culture.

Ganesh’s work has been exhibited at venues such as the Brooklyn Museum, the Queens Museum of Art, the Asia Society, Bronx Museum of Art, Socrates Sculpture Park, White Columns, Momenta Art, and Apex Art in New York. International venues include the Museum of Contemporary Art (Shanghai), Devi Art Foundation (New Delhi), EVAM (Spain), Museum voor Moderne Kunst (Netherlands), ZKM (Germany), and the Prince of Wales Museum (Mumbai). She has displayed recent solo projects at the Gothenburg Kunsthalle, MoMA PS1, and The Andy Warhol Museum, and has shown her latest film at the Center for Asian American Media’s CAAM Fest.

Her work is represented in prominent international collections such as the Museum of Modern Art, and the Saatchi Collection. She is represented by Wend Norris Gallery in San Francisco. Architects of the Future is Ganesh’s first project at Durham Press.

Architects of the Future is available as a set or as individual prints directly through our gallery. Please contact Gwyneth Fearnhead for more information, [email protected]

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Studio shots of Chitra’s portfolio featuring the print “Away From the Watcher”:

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New Portfolio: Emil Lukas | Bubble-up

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Bubble-Up | 2013, Portfolio of 2 etchings and 7 screenprints, 23 3/4 x 17 inches each, ed. 35

Durham Press is pleased to announce Bubble-up, a new portfolio of prints by Emil Lukas. The portfolio consists of two etchings and seven screenprints, each measuring 22 3/4 by 17 inches. The nine prints are presented in a portfolio box and are published in an edition of 35.In Bubble-up, Lukas both recreates and re-imagines the unconventional materials and methods–including thread, larvae, bubble wrap and glass–of his acclaimed paintings and sculptures. The artist organized the prints in a three-by-three grid to give the overall composition of dots, lines, and other marks an upward and effervescent movement.Within this grid, two screen prints reference Lukas’s thread paintings, which he creates by stretching layers of threads across wooden frames. Taut, colorful lines crisscross Hum, and vertical strings accumulate into a dense mass in Curtain. Anatomy documents the wandering of larvae and ink on glass. By printing screens of the larvae’s marks, as well as several flat washes of transparent ink, the print achieves an opacity and depth similar to that of Lukas’s larvae paintings.The remaining prints in Bubble-up allude to Lukas’s distinct painting techniques while also exploring new mark-making possibilities through printmaking processes. In three additional screenprints, Lukas again used thread to produce images, but he broke away from his typical unbending lines. He created a variety of compositions, from the structured undulations of Curve to the more free-form entanglements of Blood and Release. Glass unexpectedly reinterprets an aspect of Lukas’s larvae work. Instead of exposing glass marked with ink, the screenprint subtly reveals the gentle variations in tone caused by overlapping his vacant substrate. The artist used bubble wrap to create soft ground etchings for Detail and Orb. Though they recall his bubble-wrap-cast paintings, Lukas composed the prints to highlight the individual textures and crumpled lines within each circle, or “bubble,” of the seemingly uniform utilitarian material. As with glass, thread or larvae, Lukas’s ability to accentuate the particularity of the everyday pervades this portfolio.

Art in Print wrote a wonderful review of Bubble-up in the January/February 2014 publication, click here to read the article in full. Emil has been working with Durham Press since 2001. Bubble-up is sold as a set or as individual prints, for more information please contact Durham Press.

For a behind the scenes look at Emil’s work and process in the studio, here is a great video produced by Blouin:

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New Editions: Beatriz Milhazes | Water Dreaming + Snake Dreaming

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Water Dreaming | 2013, Woodblock and Screenprint, 37 x 46 1/2 inches, ed. 40

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Snake Dreaming | 2013, Woodblock and Screenprint, 37 x 46 1/2 inches, ed. 40

Durham Press is pleased to announce two new prints by Brazilian painter Beatriz Milhazes Water Dreaming and Snake Dreaming, 2013. The prints were proofed over a two week stay this summer and will be made in an edition of forty, and released by the end of the year. Each print measures 37 x 46 1/2 inches (94 x 118 cm) and is a combination of a twenty piece woodblock and thirteen layers of silkscreen. The central flower comes from a new series of drawings that she describes as a spontaneous dialogue between recent observations of tribal art (mostly African) and Op Art from the sixties.

Milhazes is an avid printmaker. She has worked almost exclusively with Durham Press for the past seventeen years and has created an impressive body of work. Her prints have been exhibited widely alongside her paintings and collages, and documented in numerous publications. In 2012, the prints were exhibited in a show that traveled throughout Brazil organized by the SESC (Serviço Social do Comércio), and in 2011, Whitechapel, London curated an extensive print show in the U.S. at the Gallery at Windsor, which included a comprehensive catalog of the prints, their history and development.

Milhazes’s international success has been growing since her participation in the 1995 Carnegie International and her representation of Brazil in the 2003 Venice Biennale. The wide appeal of her work has captured collectors worldwide. Her work has been exhibited at Fondation Beyeler, Basel; Fondation Cartier, Paris; Museum of Modern Art, New York; Calouste Gulbenkian Foundation, Lisbon; MALBA-Fundación Costantini, Buenos Aires; Ikon Gallery, Birmingham, England; and the Birmingham Museum, Alabama. In 2014, she will open a solo exhibit at the new Pérez Art Museum in Miami.

The prints will be on view from November 6th through 10th at the IFPDA Print Fair in New York. The prints are available directly through Durham Press. Please contact Gwyneth Fearnhead for more information, [email protected]

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Durham Press @ IFPDA Print Fair

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Durham Press will be exhibiting at the IFPDA Print Fair from Thursday, November 7th through Sunday, November 10th with a preview day on Wednesday, November 6th. The annual fair is held at the Park Avenue Armory at 643 Park Avenue, New York, NY. Please visit us at Booth 301 at the front of the fair.In celebration of our 25th year in business, we have the honor of exhibiting in the front booth. We will be featuring new projects by Hurvin AndersonPolly Apfelbaum, Chitra Ganesh, Michael HeizerEmil LukasBeatriz Milhazes and James Nares

Durham Press was founded in 1988 in a beautiful restored school in Bucks County, Pennsylvania, a short drive from New York City. Our facility houses a gallery and two printmaking studios, with silkscreen, hydraulic, and etching presses, as well as a large wood and metal shop. These studios and workspaces allow visiting artists the tools they need to explore the possibilities of printmaking and push the boundaries of this traditionally two dimensional media. Durham Press has been a member of the International Fine Print Dealers Association since 2000 and has participated in the Print Fair since 2002.
FAIR HOURS
Opening Preview Wednesday, November 6th from 6:30-9pm
Thursday, November 7th from 12-8pm
Friday, November 8th from 12-8pm
Saturday, November 9th from 12-8pm
Sunday, November 10th from 12-6pm

 

New Edition: James Nares | Step Up

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STEP UP | 2013, Screenprint, 58 x 46 inches, Ed. 44

Durham Press is pleased to announce the completion of STEP UP, the latest edition print by James Nares. STEP UP measures 58 x 46 inches and is printed with over ten different screens and inks. STEP UP is printed on Saunders Waterford paper and is an edition of 44.

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Nares’s work focuses on movement, rhythm and repetition. His most iconic works are usually made as a single brushstroke, a visual recording of gesture and the passage of time across the canvas. Using brushes of his own design, he repeatedly creates and erases his strokes, over and over again, until he feels he has made a mark that represents a precise balance between intent and improvisation.

Each screen is printed with a different shade of ink in a slightly different profile, which gradually builds the image into a rich and highly textured finished print.

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James Nares was born in London in 1953 and currently lives and works in New York. His work is included in numerous public and private collections including the Metropolitan Museum of Art, Museum of Modern Art, the Whitney Museum of Art, and the Albright-Knox Art Gallery.

Paul Kasmin Gallery is currently featuring an exhibition of new paintings entitled “Road Paint”. The exhibition runs through June 22nd.

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