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Len GittlemanLunar Landscape Abstract Signed Numbered Screenprint Blue1972
1972
About the Item
Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission to the moon in 1971. Gittleman uses bright color to transform the craters and crevices of the lunar surface into vibrant abstractions which recall Abstract Expressionist painting. The strong graphic prints reflect the awe-inspiring nature of their source material. photographer, film maker, video producer, graphic designer, multimedia developer, clock maker and teacher. Guggenheim fellowship (graphics), Cannes Film festival, Academy Award Nomination. Work in permanent collections: MFA Boston, MOMA NY, Smithsonian Institution and Fogg Museum, Harvard. He exhibited with Gyorgi Kepes
Solo shows:
Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London
Group shows:
Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA
Abstract Photography in the Permanent Collection - DeCordova Sculpture Park and Museum, Lincoln, MA
Photography in Boston - 1955-1985 - DeCordova Sculpture Park and Museum, Lincoln, MA
Some Photographic Use of Color: Fred Berman, Pierre Cordier, Len Gittleman, Denny Moers, and Alice Steinhardt - List Art Center - Brown University, Providence, RI
Greetings! - Museum of Modern Art (MoMA), New York City, NY
Collections:
DeCordova Sculpture Park and Museum, Lincoln, MA
Museum of Modern Art (MoMA), New York City, NY
- Creator:Len Gittleman (1932, American)
- Creation Year:1972
- Dimensions:Height: 28 in (71.12 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor wear, soiling to margins. please see photos.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38212327212
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- ShippingRetrieving quote...Ships From: Surfside, FL
- Return PolicyA return for this item may be initiated within 3 days of delivery.
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32 in. x 24 in.
Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy.
D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear.
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Solo shows:
Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London
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Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London
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Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA
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Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA
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