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INÉS RAITERI Untitled, 2019 embroidered silk thread on opaline paper 17 x 12 inches (framed)   ARTIST BIO Ines Raiteri (b. Mar del Plata, 1963) is an artist working with textiles, painting, and installation. Her work focuses on a variety of topics such as urban design and architecture, the relationship between bodies and space, community interaction, memory, and the intimate. The interaction between people and the participation of the community takes a central place in Raiteri’s work. She invites artists, students, and children to collaborate on embroidery projects. The relationship among people is also part of the murals or site-specific works she has designed for various workspaces, including Facebook. Since 2009, Raiteri has been a member of PintorAs, a collective of women painters in Argentina. She lives and works in Buenos Aires.   SUBMIT INQUIRY BELOW hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

Inés Raiteri, Untitled, 2019 embroidered silk thread on opaline paper 17 x 12 inches (framed) ARTIST BIO Ines Raiteri (b. Mar del Plata, 1963) is an artist working with textiles, painting, and installation. Her work focuses on a variety of topics such as urban design and architecture, the relationship between bodies and space, community interaction, memory, and the intimate. The interaction between people and the participation of the community takes a central place in Raiteri’s work. She invites artists, students, and children to collaborate on embroidery projects. The relationship among people is also part of the murals or site-specific works she has designed for various workspaces, including Facebook. Since 2009, Raiteri has been a member of PintorAs, a collective of women painters in Argentina. She lives and works in Buenos Aires.   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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