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EDUARDO TERRAZAS Untitled, 1977 oil on canvas, 49 x 35 1/2 inches   ARTIST BIO Eduardo Terrazas was born in 1936 in Guadalajara, Mexico. A founding member of the Mexican contemporary art scene, his career is characterized by a dedication to his work within the fields of architecture, design, museology, urban planning, and art. As a young architect, Terrazas came to prominence as the co-designer of the logo and prevalent design elements for the 1968 Olympic Games in Mexico City. The logo – traced in concentric circles – was inspired by Huichol techniques, and set a precedent for the geometric forms that have come to define the artist’s visual language. In the 1970s, Terrazas began experimenting with the formal relationships of geometric elements through drawings. These investigations, combined with the appropriation of elements from Mexican folk art, have resulted in a unique language that navigates both contemporary art and craft traditions. For Terrazas, the application of craft is an essential ontological process, which he deems particularly poignant for the 21st century. The Huichol yarn technique, whereby coloured yarn is arranged on wax-covered boards, has been adopted by Terrazas not only for its aesthetic properties, but also due to its labour demands, which require absorption in the act, and therefore meditation within the process. Terrazas first exhibited his work in 1972 at the Palacio de Bellas Artes, Mexico City. The following year was marked with exhibitions at the Museo Nacional de Bellas Artes, Santiago, Chile and at the Museo Nacional de Arte, La Paz, Bolivia. He was included in...

Janet Fish Wild Grapes and Flowers, 1988 watercolor on paper 37 x 44 1/4 inches (framed)   ARTIST BIO Janet Fish is a Contemporary realist painter of still lifes. Fish has an eye for the play of light on everyday objects, and she often includes colored glass, mirrored surfaces and plastic-wrapped food in her luminous paintings and watercolors. The artist has remarked, “The real structure of the painting comes from the movement of color and light across the entire surface.” Janet Fish earned her MFA in 1963 at Yale School of Art, where she studied under Alex Katz and alongside Chuck Close, Brice Marden, and Richard Serra. Fish was given her first solo exhibition at the Delaware Museum of Art in 1982. Today, her work can be found in the permanent collections of the Museum of Modern Art, New York, the National Gallery of Art, Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Dallas Museum of Art. The artist is based between New York and Middletown Springs, Vermont.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

Alex Katz Red Dogwood 2, 2021 archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 53 1/4 x 39 3/4 inches (framed)   ARTIST BIO Alex Katz (American, b. 1927) is one of the most recognized and widely-exhibited artists of his generation. Often associated with the Pop Art movement, Katz began exhibiting his work in 1954, and since that time he has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. His earliest work took inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, and over the past five and a half decades he has established himself as a preeminent painter of modern life, whose distinctive portraits and lyrical landscapes bear a flattened surface and consistent economy of line. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called “a new and distinctive type of realism in American art which combines aspects of both abstraction and representation.” Since the 1950s, Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions around the world. His work can be found in nearly 100 public collections worldwide, including the Art Institute of Chicago; the Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museum of Modern Art, New York; the National Gallery of Art, Washington, DC; The Tate Gallery, London; and the Whitney Museum of American Art, New York,...

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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