
Untitled (Kite Painting), Gouache and Watercolour Painting, 1983
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Richard SmithUntitled (Kite Painting), Gouache and Watercolour Painting, 19831983
1983
About the Item
- Creator:Richard Smith (1931 - 2016, English)
- Creation Year:1983
- Dimensions:Height: 29.88 in (75.9 cm)Width: 42.88 in (108.92 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Kingsclere, GB
- Reference Number:1stDibs: LU2718214576172
Richard Smith
Charles Richard "Dick" Smith was an English printmaker and painter. He Attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. First exhibited in New York in 1971, the traditional wooden supports of the canvases were replaced by aluminium rods and strings, allowing them to be hung freely in response to the surrounding architecture. Smith continued in the subsequent decades to construct site-specific works in public and private spaces often hanging from the ceilings or architectural supports. He resettled in Patchogue, New York in around 1977. Smith was awarded the CBE in 1971.
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Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making.
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EDUCATION
Master of Fine Arts in Painting
Bard College 1986
Bachelor of Science in Art History
State University College at New Paltz 1977
Additional Study: New York Studio School (Drawing Marathons)
Columbia University, School of Architecture
Women’s Studio Workshop
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NYFA Fellowship in Painting 2018
Invitational Award for Outstanding Contemporary Talent,
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First Prize, “Women in the Visual Arts ‘95”
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Joseph A. Cain Memorial Purchase Award for Sculpture
Del Mar College, Corpus Christi, TX 1994
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Individual Artists Fellowship in Sculpture
Dutchess Arts Fund 1992/93
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2017
“Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY
2016
“Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD
“Under, Over, After Over”, Vassar College, Poughkeepsie, NY
2015
“Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY
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“Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Assuming Identity”, NY Institute of Technology, New York, NY
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