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Andrew Spence Group of Five Untitled Works, 1990 etching and aquatint in colors   ARTIST BIO Andrew Spence is an American artist know for abstract paintings that combine a minimalist vocabulary with playful references tot he observed world. In the 1970s and 80s, he gained recognition as one of a number of young artists who were re-examining geometric modernism through a contemporary lens that invited humor and reference to everyday objects. His method of distilling visual phenomena into simple, emblematic images has been compared to Ellsworth Kelly. His work was included in the 1975 Whitney Biennial exhibition at the Whitney Museum of American Art in New York City. In 1977, Spence moved to New York City where he lives presently. His artwork is in major museum collections including the Whitney Museum of American Art, The Metropolitan Museum of Art, The Museum Of Modern Art, the Philadelphia Museum of Art, the San Diego Museum of Contemporary Art, the Walker Art Center and the Albright-Knox Gallery.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

LILIANA PORTER To Wait, 2004 etching with hand coloring, edition of 20 21 1/4 x 19 1/4 inches (framed)   ARTIST BIO Born in Buenos Aires in 1941, Liliana Porter studied at the Escuela Nacional de Bellas Artes in Buenos Aires (1954–58) and the Universidad Iberoámericana in Mexico City (1958–61). She has lived in New York since 1964. Her diverse oeuvre comprises printmaking, works on canvas, and time-based media as well as installations and public art projects. Porter began her career as a printmaker and studied at Pratt Institute in Brooklyn in the mid-1960s, shortly after arriving in the United States. In 1964 she and Luis Camnitzer (b. 1937), her then-husband, whom she had met at Pratt, as well as the Venezuelan printmaker José Guillermo Castillo (1938–1999), founded the experimental New York Graphic Workshop, active until 1970, which promoted the destruction and disposability of the art object through the creation of FANDSO (Free, Assemblage, Nonfunctional, Disposable, Serial Object). Among her most celebrated early works was a series of photoengravings and installations of sheets of crumpled paper from the 1960s that troubled obvious distinctions between object and image and cemented Porter's reputation as an important early exponent of conceptualism. By the late 1960s, photography would replace printmaking as her primary vehicle, prompting a profound change in the character of her work over the next several decades as she increasingly employed photomontage and appropriation to question distinctions between mimetic images and their referents. Since the mid- 1980s she has created paintings, drawings, collages, videos, and photographs of kitsch and...

LILIANA PORTER Concert, 2004 etching with collage and hand-coloring, edition of 35 20 1/4 x 20 1/4 inches (framed)   ARTIST BIO Born in Buenos Aires in 1941, Liliana Porter studied at the Escuela Nacional de Bellas Artes in Buenos Aires (1954–58) and the Universidad Iberoámericana in Mexico City (1958–61). She has lived in New York since 1964. Her diverse oeuvre comprises printmaking, works on canvas, and time-based media as well as installations and public art projects. Porter began her career as a printmaker and studied at Pratt Institute in Brooklyn in the mid-1960s, shortly after arriving in the United States. In 1964 she and Luis Camnitzer (b. 1937), her then-husband, whom she had met at Pratt, as well as the Venezuelan printmaker José Guillermo Castillo (1938–1999), founded the experimental New York Graphic Workshop, active until 1970, which promoted the destruction and disposability of the art object through the creation of FANDSO (Free, Assemblage, Nonfunctional, Disposable, Serial Object). Among her most celebrated early works was a series of photoengravings and installations of sheets of crumpled paper from the 1960s that troubled obvious distinctions between object and image and cemented Porter's reputation as an important early exponent of conceptualism. By the late 1960s, photography would replace printmaking as her primary vehicle, prompting a profound change in the character of her work over the next several decades as she increasingly employed photomontage and appropriation to question distinctions between mimetic images and their referents. Since the mid- 1980s she has created paintings, drawings, collages, videos, and photographs of kitsch and...

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