New Releases: James Nares

Road Paint Prints 1 – 4 | 2016 | Edition of 12

Durham Press has collaborated with James Nares on a new series titled Road Paint Prints. The nine intaglio prints achieve a visual effect similar to his recent Road Paint series of paintings.

For his Road Paint series, Nares brought a road striping machine into his studio. These tools are typically used to create solid dividing lines, dashes, and other traffic indicators on pavement, but Nares walked his machine across large canvases to make gestural marks with thermoplastic paint, often adding glass beads to give the works a textural and reflective quality. These towering paintings—most are 10 by 8 feet—were the subject of a 2013 exhibition at Paul Kasmin Gallery, New York. Utilizing the same machine on site at Durham Press, the Road Paint Prints began by creating these distinct lines on melamine. The raised lines were used to make a casting into a polyurethane mold—the ink could then be hand applied into the crevasses of the mold and printed with an intaglio technique over a black screenprinted background.

The Road Paint Prints feature a similar gestural quality and texture as the paintings but are much more intimate in scale. Each work in the series focuses on a solitary line and emphasizes subtle variations within seemingly repetitive and automatic imagery. This focus on individual marks recalls the artists signature works with isolated brushstroke images on monochromatic backgrounds. The prints also expand on many of his other recent investigations into momentum and suspended action. Like his “high speed drawings,” for which the artist drew on paper while it spun on a motorized, lathe-like machine, or his film Street, which was created with a high-speed camera and presented in ultra slow motion, Nares’s Road Paint Prints explore the perception of movement and velocity. The series takes the anonymous lines that one passes by mindlessly on the highway and instead renders them personal through deceleration.

Several new paintings that stem from the Road Paint series, as well as two of the artist’s films, will be on view in a solo presentation with Paul Kasmin Gallery at Frieze New York 2017, May 5 – 7.

Road Paint Prints and other works by James Nares’s are available directly through Durham Press. For pricing and other information please contact Gwyneth Fearnhead.

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NEW RELEASE: POLLY APFELBAUM

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Atomic Mystic Portraits | 2016

In the summer of 2016 Polly Apfelbaum produced 40 monoprints with Durham Press during a week-long visit. Titled Atomic Mystic series, the prints were made in three sizes with distinct identifiers—Atomic Mystic Particles (13 5/8 inches squared), Atomic Mystic Portraits (25 7/8 x 17 inches), and Atomic Mystic Puzzles (25 inches squared).

The series was created with the assistance of six printmakers who inked hundreds of woodblocks in assorted colors and patterns, including rainbow rolls, which Apfelbaum has been incorporating into many of her recent prints. The artist then spontaneously placed the blocks in printing jigs to explore different color combinations and compositions. These range from structured grids to starburst motifs to geometric, botanical imagery inspired by the Italian Futurist Giacomo Balla’s vibrantly painted wooden flower sculptures.

A departure from Apfelbaum’s previous collaborations with Durham Press, the Atomic series arose from a process similar to that of her sculptural and painting works, such as her “fallen paintings” consisting of many dyed fabric components that the artist arranges in situ on the floor, or her Feelies, which are made of colorful plasticine and clay that is left unfired so the pieces can be changed and reworked over time. Adaptability and fluidity are key features of much of the artist’s oeuvre, and the Atomic Mystic series represents her most concerted effort to integrate these concepts into her printmaking process. Created quickly, each monoprint serves as a kind of printed sketch, revealing unexpected moments of variation and exuberance.

Monoprints from the Atomic Mystic series, as well as other prints by Polly Apfelbaum, are available directly through Durham Press. For more information, please contact Gwyneth Fearnhead.

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NEW RELEASE: MICHAEL HEIZER

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Hard Edge Etchings | Etching with Aquatint | Edition of 28

Michael Heizer has completed a new group of intaglio prints with Durham Press titled Hard Edge Etchings. The portfolio consists of four prints, each measuring 22 x 19 ¼ inches.

The Hard Edge Etchings were made from custom-cut, shaped copper plates with unique silhouettes, relating to his works on nonstandard canvases: Hard Edge Paintings and his recent Wet Paintings, all of which were shown recently in a solo show at Gagosian, Beverly Hills. Unlike his Hard Edge Paintings—which recall Color Field abstraction with their art historical title and their bold, distinct areas of colors or tone—the prints contain spontaneous yet precise etched lines and shapes that often intersect and overlap. Their active, energetic surfaces harken to the early modernist works of artists such as Wassily Kandinsky and Kazimir Malevich while being decidedly contemporary.

Michael Heizer has been collaborating with Durham Press since 1988. The Hard Edge Etchings are available as a portfolio or individually directly through Durham Press. For more information about these prints and others by Michael Heizer, please contact Gwyneth Fearnhead.

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New Release: Polly Apfelbaum

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Hudson River Valley Nirvana | Woodblock on Handmade Japanese Paper | Edition of 15

Durham Press has completed a new series of prints with Polly Apfelbaum: Hudson River Valley Nirvana. Initially conceived in 2012, these six woodblock prints use vertical lines and a square format as a starting point from which to explore the interaction of primary and secondary colors.

Apfelbaum adopted a systematic approach to discover the possible images within a set of parameters, much like Joseph Albers’ Interaction of Color. Printed with dozens of narrow wooden blocks, the six works feature the same set of primary and secondary colors that are repeated in different arrangements, with a largely symmetrical structure applied to each image. The variation among the series showcases the unexpected results that can arise from a clear and controlled process. This compositional strategy recalls her early floor works and was an inspiration for a woven floor installation created for the Miss Dior exhibition at the Grand Palais, Paris, in 2012.

Hudson River Valley Nirvana, like many of Apfelbaum’s works, draws on diverse influences spanning art history, pop culture, and religion. The artist likened the chromatic effect of the prints to the dynamic skies captured by the Hudson River School painters. (Apfelbaum herself spends time in the region, which is a short trip from her New York City studio.) The Hudson River School is one among many of the prints’ artistic and cultural referents. They relate to Minimalism with their fixed compositional structure, but also to psychedelic and Op art. The title of the series, too, is loaded with allusions—for the artist, Nirvana refers equally to the Buddhist concept of enlightenment as it does to the Seattle grunge band. This combination of the “spiritual and punk rock” suggests that viewers are invited both to consider the nuances of the series in quiet contemplation as well as to take in the prints’ energetic colors in quick, unfettered moments. 

Hudson River Valley Nirvana and many other prints by Polly Apfelbaum are available directly through Durham Press. For more information, including pricing, please contact Gwyneth Fearnhead.

The Series, as well as new unique works by Polly Apfelbaum, is now on view in NYC at Senior & Shopmaker Gallery untill January 14th.

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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]


IN THE STUDIO: PURPLE DAHLIA

Woodblock, Purple Dahlia

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IN THE STUDIO: MOTHER’S DAY

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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: Michael Heizer | Post Historic Screenprint No. 2

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Post Historic Screenprint No. 2 | 2014, Screenprint, 46 x 46 inches, Ed. 40

Durham Press proudly presents two new editions from Michael Heizer, each 46 inches square on Arches Aquarelle 356 gram Cold Press paper. Post Historic Screenprint No. 1 and Post Historic Screenprint No. 2, which combine 22 and 33 individual screens, respectively, are available in editions of 40.

Initially conceived during a session at Durham Press in 2000, Post Historic Screenprints No. 1 & No. 2 were completed after several trips to Heizer’s studios in Nevada this past year. The prints build upon the imagery and themes that have concerned Heizer throughout his career. Considered a pioneer of Land Art with Double Negative (1969-70), and City (on which he has been working since the early 1970s), Heizer primarily works sculpturally outside of typical museum and gallery spaces with excavation, boulders and construction machinery. His recent sculpture, Levitated Mass, built for the grounds of the Los Angeles County Museum of Art, drew wide attention not only for its awe-inspiring beauty, but for its incredible year-long transport and installation.

Like many of his sculptures, these screenprints are inspired by ancient forms – stones, tools, and the architecture and planning of pre-Columbian sites – as well as Minimalist abstraction. His sculptural work calls attention to the ironic relationship between monumentality and capriciousness, which is reimagined here on paper. In Post Historic Screenprints No. 1 & No. 2, the formal composition of the seemingly aged and immutable objects contrasts with the quick, graffiti-like marks that surround and cover them. Artifacts are offhand, and the offhand is made to endure.

Michael Heizer was born in Berkeley, CA, in 1944, the son of an archaeologist. Since the late 1960s, he has been known as one of the most original and innovative artists in the world. His first collaboration with Durham Press, the Offering series, was completed in 1992. Heizer currently lives in the Nevada desert, where he continues to work on City, an enormous (approximately one third square mile) sculpture, supported by the Dia and Lannan Foundations and due for completion in the next couple of years. A major exhibition is planned at Gagosian Gallery in New York in 2015.

For pricing and availability of Michael Heizer’s prints, please contact Gwyneth Fearnhead[email protected].

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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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