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: 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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Emil Lukas returned this week to work on the etchings that will become the second piece of his new monoprint diptychs (you can see the in-progress screenprints in the Emil Lukas post below). The printed image is generated by dozens of etched coins that are individually inked and placed into a copper matrix.

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Emil placing inked coins into the copper matrix

Once the matrix is filled with inked coins, it is run through the press. In the second image below, you can see Chris and Jason reveal one of the first prints in this new series.

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Etched coins that have been individually inked and are ready to print

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Chris and Jason revealing one of Emil’s new etchings

Each diptych is comprised of a unique screenprint to be hung on the left and a unique etching to be hung on the right. In the image below, you can begin to see how each print relates to and alters the other when they are placed in close proximity. Colors that were nearly invisible before, are pulled out and brought to the forefront when they are prominent in the other print, and there is an overall shift in what your eye picks up on when looking at the prints as a pair. The first in this new series of diptychs, U.M.R = L (#0906), will be on display in our booth at the IFPDA New York Print Fair. For more information on Emil Lukas and his work, please visit his website here.

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U.M.R=L (#0906)