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Lydia DonaLarge Format Modernist Abstract Lithograph Silkscreen Print Woman Artist1986
1986
$2,200
£1,689.51
€1,936.15
CA$3,097.06
A$3,469.39
CHF 1,804.51
MX$42,319.37
NOK 22,973.85
SEK 21,662.70
DKK 14,450.91
About the Item
1982-84 Hunter College, New York (M.F.A.)
1978-80 School of Visual Arts, New York
1973-77 Bezalel Academy of Art, Jerusalem (B.F.A.)
American, born in Romania
Lives and works in New York City
Solo Exhibitions
2008 Michael Steinberg Fine Art, New York
2006 Galeria Joan Prats, Barcelona
2005 Karpio + Facchini Gallery, Miami
Jacob Karpio Galeria, San Jose (Costa Rica)
2004 Michael Steinberg Fine Art, New York
2001 Marella Arte Contemporanea, Milan
2000 Von Lintel & Nusser, New York
Galerie Von Lintel & Nusser, Munich
1998 Galerie Thomas von Lintel, Munich
1997 Galerie des Archives, Paris
1995 Galerie Samuel Lallouz, Montreal
L.A. Louver, Los Angeles
1994 Marc Jancou Gallery, London
Galerie des Archives, Paris
1993 Galerie Barbara Farber, Amsterdam
Real Art Ways, Hartford (Connecticut)
1992 Tom Cugliani Gallery, New York
Galerie Marc Jancou, Zurich
Galerie des Archives, Paris
1989 Tom Cugliani Gallery, New York
Galerie Barbara Farber, Amsterdam
Studied at bezalel from 1973 to 1977. And it was a very fascinating time because it was a highly conceptually based school. Very much influenced by Joseph Beuys, and European Conceptualism, I didn’t really like the atmosphere there that much, because it was dominated by male painters like Jörg Immendorf, Marcus Lupertz, and a few others. then came to New York to study at SVA for two years. New York in 1978 was exciting. I was very lucky to be in a class that was full of very bubbly and very energetic artists like Keith Haring, Kenny Scharf, Tim Rollins, Moira Dryer, Frank Holliday, and Tom Cugliani (who later became one of my dealers).The eighties were dominated largely by Neo-Expressionist paintings. There were Germans, such as Baselitz, Kiefer, Richter, Penck, and the Italians, Clemente, Chia, Cucchi, Palladino as well as Schnabel, Fischl, Basquiat, Salle, and many others, but all of their paintings were figuratively based. But below the popular consent, there was a group of painters who were working more in the vein of what Stephen Westfall referred to as “Neo-Surrealism,” including George Condo, Jeffrey Wasserman, Kenneth Scharf, David Humphrey. However, I felt that Carroll Dunham and you were the only two painters who seemed to be less interested in the kind of narrative, lyrical, or let’s say, stationary composition. He belongs to the generation of Terry Winters, Elizabeth Murray, David Reed and Jonathan Lasker but in some strange way, if we’re looking back to the mid-eighties, we have to include New Image painters like Susan Rothenberg, Neil Jenney, and Robert Moskowitz who were working in between the figure and abstraction with a kind of condensation and compression, in relationship, lets say, to cartoon imagery. There are artists like Jeff Koons, or even Damien Hirst who took the Duchampian aspect and brought it into the continuity of his readymade. But for me, I see no difference between the crack in “Large Glass” and the drips in Jackson Pollock’s paintings. There was something that I felt in my own equation of the continuity between Paul Klee, Duchamp, Picabia, and, oddly enough, Clyfford Still.
What essentially is important is how different artists carry on a dialogue among themselves so that they can all keep their work vital. Whether from the abstract paintings of Richmond Burton, Fabian Marcaccio extending the borders of his paintings on to the wall, or Cady Noland’s early scattered installation, my own pre-occupation with machinery, urban environment, and the Duchampian models has always materialized in relationship to other forms of art making.
Selected Group Exhibitions:
2014 Drawing on Difference: An Ambition by Saul Ostrow and Lidija
Slavkovic, Studio Vendome Gallery, New York.
2013 Drawing on Habit: An Ambition by Saul Ostrow and Lidija Slavkovic,
South Carlton Beach and The Betsy-South Beach Exhibition Programs,
Art Basel, Miami Beach.
2013 Imprinted Pictures: Lydia Dona, Fabian Marcaccio, Alexander Ross,
Tom McGrath, Cheymore Gallery, Tuxedo Park, New York.
1999 From Josef Albers to Nam June Paik, Works from the DaimlerChrysler Collection,
1998
Re: Robert Rauschenberg, curator: Stuart Horodner, Marcel Sitcoske Gallery,
San Francisco;
From Here To Eternity, Painting in 1998, curator: Ruth Kaufmann, Max
Protech Gallery, New York;
45th Biennial Exhibition: The Corcoran Collects, curator: Terrie Sultan,
The Corcoran Gallery of Art, Washington, D.C.;
Painting Language, L.A. Louver, Venice, California;
- Creator:Lydia Dona (1955)
- Creation Year:1986
- Dimensions:Height: 59 in (149.86 cm)Width: 47 in (119.38 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:frame has minor wear. framed it is large and heavy. hence the shipping price.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38212376122
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