Jacques Joachim Jean Rigal Art

Michael Graves (July 9, 1934 – March 12, 2015) was an American architect. Identified as one of The New York Five, as well as Memphis Group, Graves was known first for his contemporary building designs and some prominent public commissions that became iconic examples of Postmodern architecture, such as the Portland Building and Denver Public Library. His recognition grew through designing domestic products sold by premium Italian housewares maker Alessi, and later low-cost new designs at stores such as Target and J. C. Penney in the United States. He was a representative of New Urbanism and New Classical Architecture and formerly designed postmodern buildings, and was recognized as a major influence in all three movements. Michael Graves was one of the most prominent and influential architects and designers of the late- 20th and early- 21st centuries. In his buildings and in his furniture and housewares, Graves embodied the essence of Postmodernism — a refined classicism inflected with a humanistic sense of joy. The Indiana-born Graves attended the University of Cincinnati’s architectural program and continued his studies at Harvard as well as at the American Academy in Rome. In 1962, he began teaching at Princeton, and remained there throughout his career. Following a seminal 1972 Museum of Modern Art group...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

ZDZISŁAW WIATR (born 1960) He graduated from the Academy of Fine Arts in Cracow, at the Faculty of Graphic Arts in Katowice, where in 1986 he received a diploma with the honourable m...

Michael Graves (July 9, 1934 – March 12, 2015) was an American architect. Identified as one of The New York Five, as well as Memphis Group, Graves was known first for his contemporary building designs and some prominent public commissions that became iconic examples of Postmodern architecture, such as the Portland Building and Denver Public Library. His recognition grew through designing domestic products sold by premium Italian housewares maker Alessi, and later low-cost new designs at stores such as Target and J. C. Penney in the United States. He was a representative of New Urbanism and New Classical Architecture and formerly designed postmodern buildings, and was recognized as a major influence in all three movements. Michael Graves was one of the most prominent and influential architects and designers of the late- 20th and early- 21st centuries. In his buildings and in his furniture and housewares, Graves embodied the essence of Postmodernism — a refined classicism inflected with a humanistic sense of joy. The Indiana-born Graves attended the University of Cincinnati’s architectural program and continued his studies at Harvard as well as at the American Academy in Rome. In 1962, he began teaching at Princeton, and remained there throughout his career. Following a seminal 1972 Museum of Modern Art group survey of rising modernist architects, Graves, along with Richard Meier, Charles Gwathmey, Peter Eisenman...

Richard Hricko has exhibited internationally in museums, galleries and juried competitions, including the National Academy Museum in New York, Glynn Vivian Art Museum in Wales, and G...

Edition of 40, signed, numbered AGNIESZKA LECH-BIŃCZYCKA Graduated from University of Rzeszów in a field of Artistic Education with specialisation in g...

Edition of 40, signed, numbered AGNIESZKA LECH-BIŃCZYCKA Graduated from University of Rzeszów in a field of Artistic Education with specialisation in g...

Red Grooms’ “Ruckus Manhattan” in the mid-1970s humorously transformed Grand Central Terminal into a 3-D caricature of New York City. “I wanted to do a novelistic portrait of Manhatt...

During the Waning Crescent Moon phase, the illuminated part of the Moon decreases from the lit up semicircle at Third Quarter until it disappears from ...

Born in Amityville, NY, in 1952, Tom Butter received his B.F.A. from Philadelphia College of Art in 1975 and his M.F.A. from Washington University, St. Louis, two years later. Since 1979 he has been teaching sculpture at PCA. Butter is the recipient of two National Endowment for the Arts Grants for Emerging Artists (1980 and 1982). Special outdoor installations of his work have been part of the Hammarskjold Plaza Sculpture Garden, NY (1983), and Art Across the Park, Central Park, NY (1982). One-person exhibitions have been held at the Lawrence Oliver Gallery, Philadelphia (1983,1984,1985) and the Grace Borgenicht Gallery, NY (1983,1984). Group shows include: Affiliations, Recent Sculpture and Its Antecedents, Whitney Museum, Stamford, CT (1985); Translucid, Sculpture at Washington Square, Washington, DC (1985); Transfiguration of the Minimal Style, Sculpture Center, NY (1984); Language, Drama Source and Vision, The New Museum, NY (1983); Intoxication, Monique Knowlton Gallery, NY (1983); American Abstraction Now, ICA, Virginia Museum (1982); Critical Perspectives, P.S. 1, Long Island City, NY (1982); Color, Light and Mass: Ten Sculptors, Hallwalls, Buffalo (1981); Art for the Eighties, Galerie Durban, Caracas, Venezuela (1980). His work is in our own Academy collection as well as those of the Metropolitan Museum of Art, NY; Indianapolis Museum of Art; Chase Manhattan Bank; Prudential Insurance Company of America; and the Hospital Corporation of America, Nashville, TN. Bibliography: Forgey, Benjamin, “Prismatic Showcase,” The Washington Post, April 25, 1985. Martin, Richard, Arts, November 1984. Raynor, Vivien, The New York Times, November 18,1984. Goodman, Marilyn J.S., New Art Examiner, June 1984. Donohoe, Victoria, The Philadelphia Inquirer, April 14,1984. Donohoe, Victoria, The Philadelphia Inquirer, March 18,1984. Raynor, Vivien, “Totem,” The New York Times, February 17,1984. Kramer, Kathy, “Lifesigns,” Arts, February 1984. Messinger, Lisa, “Notable Acquisitions,” 1982 – 84,” Metropolitan Museum of Art. Linker, Kate, Artforum, November 1983. Brenson, Michael, “Critics Choices,” The New York Times, August 21, 1983. Saunders, Wade, Art in America, April 1983. Lichtenstein, Therese, Arts Magazine, March 1983. Levin, Kim, “Voice Choice,” Village Voice, January 12-18,1983. Rifkin, Ned, New Work/New York, catalogue, The New Museum, 1982. Russell, John, “New Work/New York,” The New York Times, March 19, 1982. Boyd, Julia, American Abstraction Now, catalogue, The Institute of Contemporary Art of the Virginia Museum, 1982. Silverthorne, Jeanne, “Butter/Burlin,” Artforum, October 1981. Raynor, Vivien, “Butter/Burlin,” The New York Times, September 11, 1981. Cohen, Ronny H., Drawing, Summer 1981, survey article. Denson, Roger, Color, Light and Mass: Ten Sculptors, catalogue, Hallwalls, Buffalo, NY, 1981. Huntington, Richard, “Color Mass, A Satisfying Show,” Buffalo Courier...

Beth Ganz, 'Humphrey's Peak, Arizona', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Humphreys Peak (Hopi: Aaloosaktukwi, Navajo: Dookʼoʼoosłííd) is the highest natural point and the second most prominent peak after Mount Graham in the U.S. state of Arizona, with an elevation of 12,637 feet (3,852 m) and is located within the Kachina Peaks Wilderness in the Coconino National Forest, about 11 miles (17.7 km) north of Flagstaff, Arizona. Humphreys Peak is the highest of a group of dormant volcanic peaks known as the San Francisco Peaks. Humphreys Peak was named in about 1870 for General Andrew A. Humphreys, a U.S. Army officer who was a Union general during the American Civil War and who later became Chief of Engineers of the United States Army Corps of Engineers. The San Francisco Peaks are a sacred place for Hopi, Navajo, Havasupai, Zuni, Apache, and other Native American tribes. A place of sacred shrines and ancestral dwellings, The Peaks are associated with emergence, deities, ancestors, life-giving moisture, and spiritual ceremony and are still actively utilized today. Numerous medicinal herbs and other plants used in traditional ceremonies and to treat ailments are found at several levels of the Peaks. The plants are said to have place-specific energies—that is, they must come from these sacred sites to fulfill their proper function. To the Hopi, the Peaks are Nuvatukaovi, “The Place of Snow on the Very Top,” home for half the year to the ancestral kachina spirits who live among the clouds around the summit. When properly honored through song and ceremony, it is believed that the kachinas will bring gentle rains to thirsty crops. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson...

Reeds by Phil Greenwood [2021] limited_edition Aquatint Etching Edition number 150 Image size: H:48 cm x W:59.5 cm Complete Size of Unframed Work: H...