New Release: Mickalene Thomas | Interiors

Interior: Fireplace with Blackbird / Interior: Blue Couch and Green Owl

Interior: Fireplace with Blackbird / Interior: Blue Couch and Green Owl

Mickalene Thomas has completed two new prints with Durham Press: Interior: Fireplace with Blackbird and Interior: Blue Couch and Green Owl. Based on collaged paintings the artists created in 2012 and 2014, respectively, the two new works combine a multitude of processes and elements, including screenprint, woodblock, wood veneer, etching, flocking, gold leaf, and digital printing. Each print measures 42 3/8 x 34 1/4 inches and is published in an edition of 26.

Both Interiors depict mid-century living rooms, which Thomas encountered in The Practical Encyclopedia of Good Decorating and Home Improvement, an eighteen volume book set from the early 1970s that instructs readers how to design and care for domestic spaces. The artist used these found photographs as the basis for each composition and added her own imagery and various textures. Thomas has linked her interest in these images of interiors to both the landscape and portraiture traditions. Her collage technique emphasizes the dynamic angular lines of each image and layers together different perspectives to create complex spatial relationships. The incorporation of natural elements—from the greenery and terrain visible through the windows to the representations of birds—further evokes the sense of an expansive environment.

Though neither Blue Couch and Green Owl nor Fireplace with Blackbird feature any people, the prints closely relate to Thomas’s portraiture practice. In her Interiors, the architecture, furniture, and the decorations of everyday spaces are entry points from which to explore questions of personal perception, self representation, and the gaze. “Oftentimes the interior landscape is created as a sort of mask,” she said of Blue Couch, “A way of not only hiding what is beneath the surface, but also of projecting an image of beauty, power, or elegance.” These particular interiors, however, are not rooms inhabited by specific people or families, but idealized—or once-idealized—rooms that serve as exemplars of “good housekeeping.” As such, these fractured, amalgamated interiors also examine the collective facades that inform our individual notions of home.

The Interiors, as well as other prints by Thomas, are available directly through Durham Press. For more information, including pricing, please contact Gwyneth Fearnhead

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On View: Polly Apfelbaum @ National Museum of Women in the Arts

Image courtesy of the National Museum of Women in the Arts, Photo credit: Lee Stalsworth

National Museum of Women in the Arts | March 10, 2017 – July 2, 2017

Durham Press would like to congratulate Polly Apfelbaum on her exhibition, Chromatic Scale: Prints by Polly Apfelbaum, on view at the National Museum of Women in the Arts in Washington, D.C.

The exhibition is part of a series of shows at the NMWA that explore women’s innovations in printmaking. If you are in Washington this summer, please stop in to see some of the extraordinary, colorful woodblock prints Apfelbaum has made at Durham Press over the past 15 years. 

National Museum of Women in the Arts
Teresa Lozano Long Gallery
1250 New York Ave NW
Washington, D.C. 20005

Monday – Saturday, 10 am – 5 pm
Sunday, 12 pm – 5 pm

For more information on new or available Polly Apfelbaum prints, please contact Gwyneth Fearnhead

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Noteworthy: Hurvin Anderson Shortlisted for 2017 Turner Prize

Hurvin Anderson: Backdrop, installation view, Contemporary Art Museum St. Louis, September 11–December 27, 2015. Photo: David Johnson.

Hurvin Anderson: Backdrop, Contemporary Art Museum St. Louis / Photo credit: David Johnson

Durham Press would like to congratulate Hurvin Anderson who has been shortlisted for the prestigious 2017 Turner Prize. Each year four British artists are chosen for a memorable presentation of work in the preceding year. Anderson has been regarded as one of Britain’s leading contemporary painters and was chosen for his exhibitions in Nottingham, U.K. and Ontario, Canada. Turner judges described him as “an outstanding British painter whose art speaks to our current political moment with questions about identity and belonging.”

An exhibition of work by the shortlisted artists will open at Ferens Art Gallery in Hull, England on September 26th and the winner will be announced at the award ceremony on December 5th, 2017.

Click here for more information on the history of the Turner Prize.

Current Press:
BBC News
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The Gaurdian
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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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Noteworthy: Polly Apfelbaum

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Mojo Jojo (2001), Synthetic velvet and fabric dye, Dimensions variable, Collection: Pérez Art Museum Miami, FL

Durham Press is pleased to announce that Polly Apfelbaum will now be represented by Alexander Gray Associates in Chelsea, New York. The gallery is planning their first exhibition with the artist for this September.

Apfelbaum has held recent solo exhibitions at: Senior and Shopmaker (2016), Otis College of Art and Design (2016), Bepart, Belgium (2015), Frith Street Gallery, London (2014), Lumber Room, Portland, OR (2014), Worcester Art Museum, Worcester, MA (2014), Clifton Benevento, New York, NY (2014); Burlington Arts Center, Burlington, VT (2014); Mumbai Art Room, Mumbai, India (2013); Galerie Nächst St. Stephan, Vienna, (2012); D’Amelio Gallery, New York, (2012); Hansel und Gretel Picture Garden, New York, (2012); Michael Benevento, Los Angeles, (2011); Carlow Visual Center for Contemporary Art, Carlow, Ireland, (2009); and Milton Keynes Gallery, Milton Keynes, UK, (2009).

Apfelbaum is represented by Frith Street Gallery in London, Galerie nächst St. Stephan in Vienna, Locks Gallery in Philadelphia, and now Alexander Gray Associates in New York. She has been collaborating on prints with Durham Press for over 15 years. A solo show of newly created editions and monoprints titled Chromatic Scale will be on view at the National Museum of Women in the Arts in Washington D.C from March 10th – July 2nd, 2017.
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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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Durham Press @ Baltimore Contemporary Print Fair

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Durham Press will be exhibiting at Baltimore Contemporary Print Fair April 1st and 2nd with a VIP preview Friday, March 31st. The biennial fair is held at the Baltimore Museum of Art at 10 Art Museum Drive, Baltimore, Maryland.

Dates & Hours
Friday, March 31    6pm – 8:30pm VIP Preview
Saturday, April 1   10am – 8pm
Sunday, April 2     10am – 5pm

For more information about the fair please click here.
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On View: Hurvin Anderson @ Michael Werner

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Photo credit: Michael Werner Gallery

Michael Werner Gallery – November 4, 2016 – January 14, 2017

Durham Press is pleased to announce Hurvin Anderson’s solo show, Foreign Body, now on view at Michael Werner Gallery, New York. Anderson’s paintings often return to the same locations and scenes of the Caribbean, revealing different imagery and techniques with each reiteration. “Anderson’s newest paintings move toward abstraction, suggesting boundaries and shifting viewpoints, creating a sensation akin to a flicker of memory.” The show is on view at the gallery’s Upper East Side location until January 14th. 

For more information on this exhibition please visit Micheal Werner Gallery website.

Current Press
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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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