Barbara Kuebel

Turning to one point, Hand Printed Work, Woodcut

2020

I created this work with the intention to buff up and transform bodies. I chose red as a monochrome colour to connect to a feeling of heat and warmth. I want the viewer to tune to th...

The figure is in a process of testing own reality and reality that is assumed to exist. Gravity is a good example to think about another dimension in many ways. I want to the viewer ...

Traditional French Tapestry wants to create an exotic paradise in an imaginary illusion of objects landscapes and animals in a home of eleg...

This work is about life in a garden or between plants. I see the body as a changing status - same like plants do it all their life. The transformation and correlation between an outside garden...

I like to stretch dimensions for my figures that I transfer into a woodcut. There are two motivations: to show a situation that it is still there as an idea a feeling of secure detection. To show it in a way that it hardly can be defined in terms of situational action and physical appearance. In this sense my figures have much in common with a classical still life a natura morte...

Two figures are arranged into one solid piece. The colour red supports the impression of massiveness and therefore I chose it. There is no background needed - the piece should stand ...

Woodcut on BFK Rives paper, produced in 2020. Edition of 100. Mint condition, unframed. Signed and numbered in pencil by Nicolas Party.

"Kinetic Fenris II" is an original woodcut print wheatpaste collage on wood work by Dennis McNett measuring 30”h x 26”w x 1.75”d. Bio // Austin-based artist Dennis McNett (1972) received his MFA from Pratt institute in 2004, where he taught until 2012. He has shown internationally at The Victoria and Albert Museum in London, Me Collection Museum in Berlin, MOHS exhibit in Copenhagen, Galleria Patricia Armocida, Milano, Italy, and nationally including The Ft. Wayne Museum of Art, Museum of Print History, Houston, TX, Museum of Contemporary Art, Jacksonville, FL, and Jonathan LeVine Gallery, NYC, Known Gallery, LA. A visiting artist/lecturer at RISD, Philadelphia Academy of Fine Art, Mexi-Arte Museum, Universidad De Monterrey Monterrey, Mexico, the John Michelle Kohler...

Signed, titled and numbered, from the edition of 12 An abstraction of female nudes. some minor handling creases resulting from the printing process, in margin outside image area. I...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...

"Diocletian's Retreat" is a woodcut and monotype signed by Carol Summers. The image combines landscape and architecture, in this case a classical struc...

"Casa Marquez" is an excellent example of the printmaking of Carol Summers. In the image, Summers has featured a Spanish Renaissance building, replete with classical architecture - ionic pilasters and roman arches over glazed windows that reflect the landscape like a pair of eyes. In the far distance is a red sunset over the Mediterranean sea. This interest in classical subject matter is common of modern artists: both Picasso and Giorgio de Chirico looked to classical themes throughout their careers, abstracting Greek and Roman architecture and narratives to characterize the instability of modernity. Summers certainly does the same here by warping and tilting what should be a stable stone structure. The drama of Summer's representation of the villa is enhanced by his signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. The title of the print refers to the author Gabriel García Márquez, known for such novels as One Hundred Years of Solitude...