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 Fearnheadgwyneth@durhampress.com.

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On View: Roland Fischer International Summer Exhibitions

Current exhibitions featuring works by Roland Fischer:

Von Lintel Gallery – Los Angeles – through August 23rd
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AMBITIOUS is an inventory showcase of an ambitious array of works in multiple mediums and subject matter from 18 contemporary photographers.  Fischer’s striking portraits of Nuns and Monks will be on view.

Fischer’s artistic focus revolves around religious iconography and architecture, as seen in his photogravure print published with Durham Press entitled San Bartolome from 2007.

Von Lintel also has an extensive selection of Fischer’s magnificent, super-imposed c-print images of cathedrals and religious Islamic architecture.  Click here to view the collection.

2685 S La Cienega Blvd, Los Angeles, CA 90034
gallery@vonlintel.com
(310) 559-5700

Galería La Caja Negra Ediciones – Madrid, Spain – through July 25th

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  Façades on Paper IV: Black Forest, 2012, Screenprint. Copyright Roland Fischer and Durham Press.

Roland Fischer’s Façades On Paper: The Complete Series I-IV will be on view at Galería La Caja Negra Ediciones in Madrid, Spain until July 25th 2014.  Each set in the series consists of 8 screenprints in editions of 100.  Total works amount to 3,200 prints in the Durham Press archives.

Fischer’s Façades are based on his travels, photo-documenting abstract and geometric images from iconic architecture and landmarks in major metropolitan cities throughout the world.

C/ Fernando VI, 17, 28004 Madrid, Spain
info@lacajanegra.com
+34 913 10 43 60

For more information on the full set of Façades, visit Roland Fischer’s artist page.

Carlos Carvalho Contemporary Art – Lisbon, Portugal – through September 6th

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Photo credit: Mónica de Miranda and Carlos Carvalho

Another inventory wide exposition featuring Fischer will be at Carlos Carvalho Contemporary Art entitled We Are Pleased to Invite You #4, on view until September 6th, 2014.  Fischer will also be featured with Carlos Carvalho at the Est Art Fair in Estoril, Portugal from July 10-13.

Rua Joly Braga Santos Lt J, 1600-123 Lisboa, Portugal
carloscarvalho-ac@carloscarvalho-ac.com
+351 21 726 1831

Other artists on view:
Ricardo Angélico
José Bechara
Daniel Blaufuks
Isabel Brison
Carla Cabanas
Manuel Caeiro
Catarina Campino
Mónica Capucho
Alexandra do Carmo
Paulo Catrica
Sandra Cinto
Roland Fischer
Javier Núñez Gasco
Susana Gaudêncio
Catarina Leitão
José Lourenço
José Batista Marques
Mónica de Miranda
Antía Moure
Álvaro Negro
Luís Nobre
Ana Luísa Ribeiro
Richard Schur
Eurico Lino do Vale
Manuel Vilariño

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, Gwyneth@durhampress.com

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

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Roland Fischer exhibition at Von Lintel Gallery and Galerie Maior

Roland Fischer will be exhibiting his new large-scale photographs of building facades at Von Lintel Gallery from September 6th through October 8th, 2011. An opening recpetion will be held on Thursday, September 8th from 6-8pm. Roland also has an exhibition at Galeria Maior in Mallorca which runs until October 2011. Roland has created 3 porfolios of Façades on Paper with Durham Press. The first series was started in 2001. Façades on Paper are portfolios of 8 photographic screenprints. The prints are sold as sets and individually. Roland also created a beautiful photogravure with Durham Press called San Bartolomé. Durham Press will be working with Roland on a new project in the fall of 2011. Stay tuned to our blog for more updates!

Facades on Paper III, 2007/2008, 35 x 25 inches, edition of 100

Installation of seclected images from Facades on Paper in the Durham Press gallery

San Bartolomé, 2007, 30 x 22 1/2 inches, edition of 30

Roland working on Facades on Paper III in 2007 at Durham Press

Roland Fischer at Walter Storms Galerie

Villa Savoye, 2010, C-Print, 119 2/3 x 56 2/3 inches

Roland Fischer will be exhibiting at Walter Storms Galerie from May 4th through June 4, 2011. The exhibition features a series of new work based on architecture. Roland has worked with Durham Press since 2001. He will be returning in 2011 for a new set of Facades on Paper. Roland has worked with Durham Press since 2001. He will be returning in 2011 for a new set of Facades on Paper. Facades on Paper I-III are currently available as sets and individually.

Facades on Paper |  2001, Screenprints, 35″ x 25″, Ed. 100

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Beatriz Milhazes Gold Rose Series

In September of 2009, Beatriz Milhazes returned to Durham Press to take on another enormous project, a series of seven prints that came to be called the Gold Rose Series. During her four-week stay she worked with a team of five to realize the beautiful proofs seen in the pictures below. She was also filmed for a documentary that is being made about her by Goritzia Filmes.

The Gold Rose Series is comprised of two singles, a diptych and a triptych all measuring 31 and a half inches in height – but of various lengths. The series uses warm color schemes, botanical forms as bold graphics and patterning, and intricate detailing typical to Milhazes’ work.

 

The series is now in production and will be released this spring. We expect Beatriz back to sign in April, when we plan to celebrate the completion of the edition with a reception of these impressive new works. More information on this soon. James Cohan Gallery will also host an exhibition of the works that opens April 1st in New York.

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James Nares back @ Durham Press

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James Nares, long-time Durham Press friend and collaborator , returned to the studio recently to complete work on his new screenprint, THUMP. This new edition is the 13th print James has created at Durham Press, and he and JP (the master printer here) continue to push the dynamic dimensionality of his painted brushstrokes into amazing, rich, vibrant screenprinted editions. When asked recently about his experience of working at Durham Press and with JP on this process, James said:

Working at Durham Press is really a pleasure. JP’s knowledge of, and experience with the silkscreening process is second to none, and working with him is a collaboration, as with another artist. He has come up with an ingenious method to create screen prints of my brush strokes which have all the body and tones of an actual, painted brush stroke, but without the use of half-tone…

For those maybe unfamiliar with the screenprinting process, creating a halftone is the process of turning all the tone in an image into various sized and spaced dots in order to create the tonal variation. This allows all of the tone to be printed at once and is what you are looking at when you see a black and white photo printed in the newspaper, for example. What gives James’ prints the fluidity, the subtle shift in tone and the overall richness of color is that is is not printed as a halftone, but is rather broken down into 10-15 layers of varied tone and color and then rebuilt, through printing each layer one on top of the other. It is a complicated process, but creates a seamlessness in the color and tonal shifts that would not be possible otherwise.

To see THUMP as well as some of the other work James has produced with Durham Press, please visit our booth at the IFPDA Print Fair in New York City. The fair is held at the Park Avenue Armory and runs from November 5th – November 8th, 2009.

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Also, James film Rome in ’78 is currently being shown at MOMA as part of the film exhibition, Looking at Music: Side 2. The next screening will be on Saturday, November 28th at 7:30 p.m. The film, according to the MOMA website, is “a narrative about the Roman emperor Caligula set in a shabby Manhattan apartment, proposes an analogy between ancient Rome and modern America as cultural empires. The image below is a still from the film.

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Alison Elizabeth Taylor Installation Photographs

We recently received several installation photographs of Alison Elizabeth Taylor’s incredible exhibition at James Cohan Gallery. The show received positive reviews from a number of publications, including Artforum, The New York Times, and Modern Painters, all of which can be seen and read here. The images below are of several of Alison’s smaller works in the front gallery at James Cohan and then two shots of her Room installation that occupied the back. For more information, please visit the James Cohan website, and to see the new portfolio of screenprints Alison made in collaboration with Durham Press, please visit her section on our website here.

View of Alison Elizabeth Taylor’s Room as you enter the space

View of Room looking out of the space

Several of Alison’s smaller wood-veneer pieces in the front space at James Cohan Gallery

Lydia Dona @ Michael Steinberg Fine Art

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Fuel Injection by Lydia Dona

Lydia Dona’s exhibition, From Heat to Sub-Zero, is now on display at Michael Steinberg Fine Art in New York City. The show features a combination of Lydia’s paintings and prints, including Fuel Injection made in collaboration with Durham Press. The show runs from March 21st through April 26th, 2008. For more information, please visit www.michaelsteinbergfineart.com.

From the Michael Steinberg Fine Art website:

Michael Steinberg Fine Art is pleased to present “From Heat To Sub-Zero”, an exhibition of new works by Lydia Dona. Featured in the exhibition is the monumental triptych from which the show derives its name. Completed in 2008, this painting offers an opportunity to understand the interplay between the artist’s recent paintings and her graphic work. Accompanying the painting are three large format etchings published by Poligrafa of Barcelona, Spain, as well as a silkscreen print issued by Durham Press of Durham, Pennsylvania. Seen in combination, the influence of the graphics on Dona’s painting becomes apparent.

The exploration of urban environment, the encroachment of technology on the human body and the organic enmeshments with the chemical changes surrounding them has been a repetitive development and preoccupation in Dona’s approach to abstraction.

The cinematic devices of sequence, framing, cutting and variety of lightings, have infiltrated their way into the monumentality so this triptych is constructed between breaks, meeting points, and the complexity of transformation.

The introduction of silver metallic paint, copper and oxide copper play a new role in the idea of chemical change as well as a sculptural and photographic impact into the canvas. The utilization of auto car repairs, tubes, and diagrams is constructing and evolving into lines that created a new relationship and a challenging despair between environments sunk into mass.

The linear elements move and entangle themselves creating a new context with the line, marks, borders, and cityscapes. The super charged content and motion, the visual charge of heavy metal and light metal decreases in temperatures to the edge of the self-elimination and the potent frames of experimentation.

Lydia Dona lives and works in New York City. Well known both nationally and internationally, Dona’s work has been featured in important museum exhibitions such as the 1991 Corcoran Biennial in Washington, D.C., and From Albers to Paik, Works from the Daimler Chrysler Collection, Neue Nationalgalerie, Berlin, in 1999. Recent group shows include Officina America at the galleria D’arte Moderna Bologna, Italy, in 2002, and About Painting at the Tang Museum, Saratoga Springs, New York, in 2004. Between 1995 and 1997, a survey show of her work from 1989 – 1995 traveled in the United States and Canada. Lydia Dona’s work is included in numerous significant collections, both public and private.