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David AveryConcerning The Great Ship MOUR-DE-ZENCLE (19/20)2016
2016
About the Item
Signed and numbered from the edition of 20. Avery's prints often mix elements of myth, legend and history with his own light touch of surrealism.
“MOUR-DE-ZENCLE” is from Alfred Jarry’s "The Exploits and Opinions of Dr. Faustroll, Pataphysician," derived from the French language of the 16th century similar to Rabelais. “Mour” is perhaps in modern terms, “automobile exhaust pipe”; “zencle” is “scythe”, that is: “capitalism”. The wake of this ship is the desert called “Commonly Accepted Ideas”, unencumbered as it is by any intimation of thought or imagination.
David Avery continues to explore the expressive and technical possibilities inherent in black and white line etching. His work is included in the collections of the Fogg Museum at Harvard University, the New York Public Library, the Achenbach Foundation for the Graphic Arts, the Stanford University Library among others, and has been noted in the New York Times. Even though “black and white doesn’t sell”, he has eschewed the use of color, finding the subtleties and tonalities of black and white most capable of creating the psychological mood that allows his work to be effective.
- Creator:David Avery (1952, American)
- Creation Year:2016
- Dimensions:Height: 12.75 in (32.39 cm)Width: 6.25 in (15.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palm Springs, CA
- Reference Number:1stDibs: LU308212793602
David Avery
David Avery has been creating finely detailed black and white etchings in San Francisco for twenty five years. Originally trained as a classical musician, he discovered etching almost by accident in a class at the local community college. After learning the basic techniques, he intently pursued his own course of discovery--being essentially -self taught. Over--the years, he has, developed an exceptional technique and has created a remarkable body of finely wrought miniature etchings and drypoints. David Avery continues to explore the expressive and technical possibilities inherent in black and white line etching. His work is included in the collections of the Fogg Museum at Harvard University, the New York Public Library, the Achenbach Foundation for the Graphic Arts, the Stanford University Library among others, and has been noted in the New York Times. Even though “black and white doesn’t sell”, he has eschewed the use of color, finding the subtleties and tonalities of black and white most capable of creating the psychological mood that allows his work to be effective. Public Collections: Library of Congress
The Fogg Museum of Fine Arts, Harvard University, Cambridge, MA
The Achenbach Foundation for Graphic Arts, San Francisco, CA
Stanford University Library, Special Collections, Stanford, CA
The Turner Print Gallery, California State University, Chico, CA
The Folger Shakespeare Library, Washington, D.C.
St. Mary’s College, Moraga, CA
New York Public Library, New York, NY
San Francisco Public Library, Book Arts and Special Collections Center
Lakeview Museum Permanent Collection, Peoria, IL
Arkansas State University Permanent Collection, AR
Purdue University Galleries
Bradbury Art Museum, Jonesboro, AR
Kellogg University Art Gallery, Pomona, CA
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- Return PolicyA return for this item may be initiated within 7 days of delivery.
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