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Nicholas KrushenickUntitled (Wire Mill Variant)1979
1979
About the Item
Artist: Nicholas Krushenick, American (1929 - 1999)
Title: Untitled (Wire Mill Variant)
Year: 1979
Medium: Silkscreen, signed and numbered in pencil Edition: 200, AP 30
Paper Size: 34 in. x 26 in. (86.4 cm x 66.0 cm)
Unframed
This bold serigraph is immediately recognizable as the work of Nicholas Krushenick (1929-1999). This print is signed and dated, lower right and editioned “A.P. 19/30” in the lower left. It is in very good condition, with one small area of minor thinning ½ inch square on the top edge, right side.
- Creator:Nicholas Krushenick (1929-1999, American)
- Creation Year:1979
- Dimensions:Height: 34 in (86.36 cm)Width: 26 in (66.04 cm)Depth: 0.1 in (2.54 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:It is in very good condition, with one small area of minor thinning ½ inch square on the top edge, right side. See picture.
- Gallery Location:San Francisco, CA
- Reference Number:Seller: PM05272020-21stDibs: LU66636232602
Nicholas Krushenick
orn in the Bronx, New York in 1929, Nicholas Krushenick studied painting at the Art Students League of New York and the Hans Hofmann School of Fine Arts. After completing his training, Krushenick designed window displays and worked in the Framing Department of the Museum of Modern Art. From 1957 to 1962, the artist, along with his brother John, operated the now legendary Brata Gallery in Manhattan’s East Village. Brata displayed the works of many of the foremost artists of the day, including, among others: Ronald Bladen, Ed Clarke, Al Held, Yayoi Kusama, and George Sugarman. Krushenick first developed his signature “pop abstract” style in the early 1960s. The loose geometries and web-like forms of his early paintings demonstrate his deliberate caricature of Abstract Expressionist “drips” or “skeins” into what more closely resemble details from cartoons—like Superman’s hair follicles, as critic Robert Rosenblum once described. The high-keyed color, formal rigor, and sheer graphic intensity of his paintings set Krushenick apart from his contemporaries. As a result, decades after its creation, Krushenick’s work still appears remarkably fresh. During the 1960s and 1970s, Krushenick had solo exhibitions at many of the most influential and prestigious galleries, including: Graham Gallery (1958, 1962, 1964, New York), Fischbach Gallery (1965, New York), Galerie Sonnabend (1967, Paris), Galerie Ziegler (1969, Zürich), Galerie Beyeler (1971, Basel), and Pace Gallery (1967, 1969, 1972, New York). During this period, his work also figured prominently in many landmark museum exhibitions, such as Post Painterly Abstraction (1964, Los Angeles County Museum of Art), Vormen van de Kleur (1964, Stedelijk Museum), Systemic Painting (1965, Solomon R. Guggenheim Museum), and Documenta 4 (1968, Fredericianum), among others. In 1968, the Walker Art Center mounted a retrospective exhibition of Krushenick’s work. His first European retrospective came four years later, in 1972, at the Kestner-Gesellschaft in Hannover, Germany. In 2015 he had a retrospective at the Tang Gallery, Skidmore College, Saratoga Springs, New York entitled Nicholas Krushenick: Electric Soup. Krushenick’s work is featured in the collections of over sixty major museums, including: the Albright-Knox Art Gallery; the Baltimore Museum of Art; the Cleveland Museum of Art; the Dallas Museum of Fine Art; the Empire State Art Collection; the Grey Art Gallery, New York University; the Los Angeles County Museum of Art; the Metropolitan Museum of Art; the Museum of Modern Art; San Francisco Museum of Modern Art; the Smithsonian American Art Museum, Washington, D.C.; the Stedelijk Museum; the Virginia Museum of Fine Arts, Richmond; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art.
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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
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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.
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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
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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.
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Ø 1969. Tertulia Room. Cali, Colombia.
Ø 1969. Lunn Gallery. Washington, DC, USA.
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Ø 1970. Venezuelan Cultural Week. Miami and Jamaica.
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Ø 1972. Moos Gallery. Montreal, Canada.
Ø 1973. Spoleto Festival. Italy.
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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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