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Jeffrey LongAbstract IIc.1990
c.1990
About the Item
This artwork titled "Abstract II" c.1990, is an original color screenprint by noted American Artist Jeffrey Long, b.1948. It is hand signed and numbered 11/150 in pencil by the artist. The image size is 26 x 26 inches, sheet size is 29 x 28.5 inches. It is in excellent condition, the colors are fresh and bright, it has never been framed. It will be shipped in a 8 inches diameter heavy duty tube.
About the artist:
Jeffrey Long, the elder son of a commercial graphic artist at Time & Life, was born in New York City in 1948.
In 1970 Long received a BFA in Illustration and Art Education from Rhode Island School of Design and had decided to be a painter. His paintings from this period were photo realistic portraits and figures set in landscapes. On graduation, he married and began teaching art in a Rhode Island public school system.
From 1971 through 1973 he was a resident artist at the Rockefeller-funded Pulpit Rock Community in Woodstock, Connecticut. Works from this intensive period were representational, highly dynamic, and borrowed from the vocabulary of cartoons.
In early 1974 Long moved to the San Francisco Bay Area, where he obtained a full scholarship at California College of Arts & Crafts (now California College of Arts).
There he received an MFA in painting in 1976. He established various studios in Oakland and Emeryville, while also working as a Curatorial Assistant at The Oakland Museum. The museum brought him in touch with such California artists as Richard Diebenkorn, Elmer Bischoff, Manuel Neri, Joan Brown, Jay de Feo, Mel Ramos, Ansel Adams and Imogen Cunningham.
In 1977 Long was approached by an heiress of HC Johnson Company, important patron of contemporary art. This patronage allowed Long to work full time in the studio, and funded extensive travel in Asia, where introductions were made to important artists in several countries.
Long’s large format gouache on paper works from this period show the flattened space of Japanese wood block prints. In 1979 he showed these works in New Image/Bay Area, curated by George Neubert at The Oakland Museum. The same year, Long started a decade long relationship with Ivory Kimpton Gallery in San Francisco, where he staged annual solo exhibitions.
At the end of 1979 he established a San Francisco studio.
In gouache, then large scale oil pastel on paper and oil on canvas, Long’s landscapes were a synthesis of places experienced, rather than directly transcribed. The artist was attempting to convey the essential energy of nature in increasingly totemic and energized paintings.
Many of these large scale works are now in museums throughout the United States Including San Francisco Museum of Modern Art, The Oakland Museum, Crocker Museum, Sacramento, and Scottsdale Museum of Contemporary Art.
During these years Long was resident artist at the MacDowell Colony, Dorland Mountain Colony and Sacatar Foundation. Beginning in 1988, Long traveled regularly to many of the remotest parts of Africa, where he digested color and texture later to be employed in his abstract landscapes.
Moving gradually in the 1990s to a more geometric, collage-layered approach, Long’s project was to bring metaphor and oblique narrative to abstraction. Reflecting on the votive offerings of gold leaf on the interior walls of Buddhist temples he had seen in Thailand, he incorporated this element into his collaged surfaces.
The idea of the votive offering became a vehicle for the artist to visually address the AIDS crisis, which was killing so many of his friends. Many of the paintings portrayed light emerging from darkness. Others were chronologies listing names of the dead. Landscape was never far from the surface of these abstractions. But these were fragmented, gridded landscapes evoking a fractured paradise.
In 1998 Long, together with his partner, moved to New York for three years. The artist established a studio in TriBeCa. Here he continued oil and collage works based on abstracted landscape.
On returning to San Francisco in 2001, he began to introduce biomorphic shapes into a matrix of rectilinear structures, ending up with a colorful, content-free kind of abstraction.
In 2003, in acquiring a ranch in rural Lake County California as a part-time residence, Long’s contact with nature was reinforced. Evidence is seen in his abstract pieces based upon orchards.
Meanwhile, Long’s solo shows continued apace at galleries such as Andrea Schwartz, Fay Gold, and Toomey Tourell.
Although the artist has been chiefly known for his non-representational work, he often returns to figuration and more literal landscape.
Public Collections
San Francisco Museum of Modern Art
The Oakland Museum, Oakland, CA
The David Brower Center, Berkeley, CA
Rhode Island School of Design, Providence, RI
Mills College, Oakland, CA
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
University Art Museum, Berkeley, CA
Crocker Art Museum, Sacramento, CA
Fresno Art Museum, Fresno, CA
Scottsdale Museum of Contemporary Art, AZ
Achenbach Foundation, California Palace of the Legion of Honor, San Francisco, CA
DeSaisset Museum, University of Santa Clara, CA
Stanford University, CA
University of Southern California, Los Angeles, CA
Racine Museum of Fine Arts, Racine, WI
City of Hartford, CT
City of San Jose, CA
US Forest Service
U.S. Embassy, Manila, Philippines
Selected Corporate Collections
Jeffery Long’s work has been acquired by more than 100 corporate collections.
Mobil
Vesti/Chevron
Heller, Ehrman, White & McAuliffe
Genstar Capital
Bank of Denver
Bank of America World Headquarters
Bank of San Francisco
Financial Network Investment Corp.
Hirsch-Bedner
Bronson, Bronson & McKinnon
Prudential
Nordstrom
Adobe
Carleton London
Cisco
Sun Microsystems
UCLA Neurogenetic Institute
Charles River Associates
Hilton
Mandalay Bay Resort
Cosmopolitan Hotel
Fairmont Hotels
TMG Partners
Opus West
- Creator:Jeffrey Long
- Creation Year:c.1990
- Dimensions:Height: 29 in (73.66 cm)Width: 28.5 in (72.39 cm)Depth: 0.01 in (0.26 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:Seller: lon/abs/21stDibs: LU666313402002
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View AllJupiter 4
By Rafael Bogarin
Located in San Francisco, CA
Artist: Rafael Bogarin – Venezuelan (1946- )
Title: Jupiter 4
Year: 1980
Medium: Screen Print
Sight size: 19.5 x 25.5 inches.
Sheet size: 22.5 x 28.5 inches.
Signature: Signed lower right
Edition: 295 This one: 116/295
Condition: Excellent
Unframed
This exceptional geometric abstract serigraph is by the noted Venezuelan artist Rafael Bogarin (1946- ). This is Jupiter 4. I have others from the series, also for sale. The print has never been framed and is in excellent condition. It measures 22.5" x 28.5".
Rafael Bogarin is an established contemporary Venezuelan artist known for his abstract serigraphs. Bogarin was born in 1946, in El Tigre, where he grew up making his own toys and learning to draw. He studied in Caracas at the Cristobal Rojas School of Fine Arts, specializing in lithography and etching.
From 1970 to 1992, Bogarin, like so many artists, lived in New York. As he explored various techniques, he became an expert in serigraphs, earning himself acclaim in Latin America as a pioneer. In South America he traveled the continent giving classes and learning about native cultures. When he returned to the land of his youth, he was inspired to create the concept of the entire world in the Museo Vial in El Tigre in 1982. Later he made others along the route between Colombia and Venezuela. Recently he has been creating and realizing ideas like the Museo de Murales a Cielo Abierto (Museum of Murals to the Open Sky).
Detailed biographical information (source: artist's website):
Rafael Bogarín was born in El Tigre, Anzoátegui state, Venezuela, on January 20, 1946. He studied at the Cristóbal Rojas School, which he finished in 1966; Among his teachers are Luis Guevara Moreno, Pedro León Zapata, Luisa Palacios and Luis Chacón. Upon returning from school he founded the Zapato Roto group with other artists, with the aim of taking art to the streets. In 1966 he directed the outdoor exhibitions of the Venezuelan American Center, and two years later he participated in the XXVIII Official Salon, where he received the Rome Prize.
During that time he ordered elements such as nuts and serrated blades in relation to discs engraved with burin and other techniques, and made the final impression in planes of one color. In 1970 he received a scholarship and traveled to New York; He studies at the Pratt Graphic Center and the Blackburn Printmaking Workshop. In 1973 he founded, together with Manuel Kohn, the Bogarín Printmaking Workshop, a workplace for Venezuelan artists living in the United States; This workshop, of which he has been master printer, allowed continuity to his artistic work. Bogarín investigates the possibilities of super eight cinema and makes films with quality similar to commercial formats; From these experiences emerge The Lonely World (1975) and New World Symphony (1976). In 1977 he deepened his study of color with The New Color, a portfolio where he produced superimposed colors through transparencies and glazes.
His teaching experience includes courses at the Rafael Monasterios School of Plastic Arts in Maracay (1969-1970), Ceagraf (1979), as well as workshops in various cities around the world. In 1980 he made an exhibition of silkscreen prints in cities in Italy, El Salvador, Colombia, Mexico and the United States. That year he resumed his interest in outdoor exhibitions with a museum project with murals by 30 artists for El Tigre (Venezuela); The Rafael Bogarín Road Museum was inaugurated in 1982 and brought together 30 murals on 2 x 4 meter fences, by artists such as Mario Toral, Édgar Sánchez and Paul Davis. He carried out the project to recover the architectural spaces of El Tigre (Venezuela), through murals, sculptures, plazas and humanized spaces.
In 2006 he painted the largest painted flag in the world in El Tigre, Venezuela. Bogarín has exhibited his work on all 5 continents and currently lives and works in Panama City in his private workshop and in the Articruz workshop.
Individual exhibitions
Ø 1966. Gallery of the Medical College. Caracas Venezuela.
Ø 1966. Venezuelan American Center. Caracas Venezuela.
Ø 1970. Protobello Gallery. Caracas Venezuela.
Ø 1977. First National Bank of Louisville. Luosville, Kentucky, USA.
Ø 1978. Venezuela Gallery. New York City, USA.
Ø 1979. Julián Marchena Room, Museum of Costa Rica. San Jose Costa Rica.
Ø 1979. La Otra Banda Gallery. Merida, Venezuela.
Ø 1980. Galeter Center. Adro, Italy.
Ø 1980. Gallery of Modern Art. Santo Domingo Dominican Republic.
Ø 1980. Jewish Community Center. Monmouth, New Jersey, USA.
Ø 1980. Frank Fedele Fine Arts. New York City, USA.
Ø 1980. El Túnel Gallery. Guatemala, Guatemala.
Ø 1981. Garcés – Velásquez Gallery. Bogota Colombia.
Ø 1982. Siete Siete Gallery. Caracas Venezuela.
Ø 1984. Acquavella Gallery. Caracas Venezuela.
Ø 1985. Cultural Center. Santa Cruz, Bolivia.
Ø 1992. Sotage Gallery, Puerto La Cruz, Venezuela.
Ø 2017. Arteconsult Gallery. Panama City, Panama.
Awards
Ø 1969. Rome Prize. XXIX Official Salon of Venezuelan Art, Museum of Fine Arts. Caracas Venezuela.
Ø 1971. Honorable mention. First Young Artists' Salon. Maracay, Venezuela.
Ø 1984. First prize, Salón Aragua. Maracay, Venezuela.
Murals
Ø 1974. Venezuelan Consulate. New York City, USA.
Ø 1982. Creator of the First Road Museum in the World. El Tigre, Venezuela.
Ø 1983. Road Museum. Roldanillo, Colombia.
Ø 1984. Bicentennial Road Museum. Cucuta, Colombia.
Ø 2000. Ceramic mural. Dairy, Venezuela.
Group exhibitions
Ø 1963 to 1966. Spiral Gallery. Caracas Venezuela.
Ø 1966. El Pez Dorado Gallery. Caracas Venezuela.
Ø 1966. “Zapato Roto” Festival. Caracas Venezuela.
Ø 1967. D´Empaire Hall. Maracaibo Venezuela.
Ø 1970. Drawings and engravings room. Central University of Venezuela. Caracas Venezuela.
Ø 1966 and 1971. Arturo Michelena Hall. Valencia, Venezuela.
Ø 1966 to 1968. Annual Venezuelan Art Salon. Museum of Fine Arts. Caracas Venezuela.
Ø 1968. Luis Ángel Arango Library. Bogota Colombia.
Ø 1969. Tertulia Room. Cali, Colombia.
Ø 1969. Lunn Gallery. Washington, DC, USA.
Ø 1969. Gallery of Visual Arts. Maracay, Venezuela.
Ø 1970. Venezuelan Cultural Week. Miami and Jamaica.
Ø 1972. Two Rivers Gallery. Binghampton, New York City, USA.
Ø 1972. Moos Gallery. Montreal, Canada.
Ø 1973. Spoleto Festival. Italy.
Ø 1974. Young Artists, Union Carbide Building. New York City, USA.
Ø 1975. Government of Caracas. Caracas Venezuela.
Ø 1975. Graphic VII, Mendoza Gallery. Caracas Venezuela.
Ø 1976. Brooke Alexander Gallery. New York City, USA.
Ø 1977. Denise Rene Gallery. New York City, USA.
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