Rafael Tufino

Augusto Marin exhibition poster (Puerto Rican artist)

1965

Sylvia Wald (October 30, 1915 – March 24, 2011) Monnlight, 1954. Screen print on paper, image measuring 14 x 25 inches. Framed measurement: 21 x 32 inch...

Beautiful 1994 monotype painting by American artist, David Chamberlain (b.1950). Oil on Arches paper, image measures 16.5 x 21.5 inches; sheet measures 22 x 30 inches. The subtle variations of the oil application are quite lovely. Titled and signed by the artist in pencil, lower margin and on reverse. Excellent, clean condition with no damage or restoration. Unframed: sheet is loose with no backing. SHIPS ROLLED IN TUBE David Chamberlain (American, b Canton, Ohio 1949) has been a full-time artist since 1977, and has created more than 2000 original works in both two and three dimensions. Over 100 of his works appear in the collections of recognized arts institutions and museums, worldwide. A serious and passionate musician (a cappella jazz singer with three recording albums and over 700 concerts in this avocation), Chamberlain's artistic approach and imagery is inspired by studies of musical patterns and relationships. Other influences include topology, poetry, design and flying. His sculptures are noted for their playful explorations of lyrical, melodic edges and harmonious spaces. The surfaces are all one continuous form; the insides become the outsides and vice-versa; the edges are all one line. Mediums include mahogany, bronze, titanium, gold, and ceramic/porcelain. His paintings reflect an enthusiasm for composition and improvisation. Chamberlain has developed a way to create original oil paintings using methods adapted from monotype processes incorporating a light table and mirrors, an etching press, and a variety of hands-on tools (including fingers, rollers, static electricity and blowing)... but no brushes. This method, sometimes called the Chamberlain Method, makes possible the intense collaborations he is known for, where he and another artist work on the same painting at the same time. Called Duett Painting, this mutual and simultaneous way for two artists to paint together attempts to involve the backgrounds of each, directly and profoundly. There are no rules, and there is no place to hide whoever the artists are appears in the composition. As each artist's marks influence the other's, the painting takes on a momentum of its own, compelling the artists toward a new direction neither would have pursued on their own. Chamberlain has worked with over 100 artists, musicians, dancers, poets and creative people from the USA, Asia, Europe, South America and Africa. About half of his paintings are collaborative duetts; half are conventional solo works using these techniques. His studio is based near Boulder, Colorado. He is married, with two children, a dog and three cats. EDUCATION MLA University of Colorado 2002 Landscape Architecture MFA University of Pennsylvania 1977 Sculpture & Printmaking BA Princeton University 1971 Architecture & Design SELECTED EXHIBITIONS Consulate of Japan, San Francisco, CA 1999, 1998 Major Shows Muse a Muse' Gallery, Tokyo, Japan 1997, 1999 Retrospective: "Solos, Duets & Concertos" Muskegon Mus. of Art, MI 1996 "Duets" Delaware Museum of Art, Wilmington, DE 1995 MacLaren/Markowitz Gallery, Boulder, CO 1991 Retrospective: McKissick Museum of Art, Columbia, SC 1990 Retrospective: The Art Complex Museum, Duxbury, MA 1988 Pucker Gallery, Boston, MA 1981, 1984, 1988 Gibson Gallery, SUNY at Potsdam, NY 1987 Arlene McDaniel Galleries, Simsbury, CT 1986 Lyme Academy of Fine Arts, Old Lyme, CT 1985, 1986 Gallerie Obussier, Nantucket, MA 1985 New Acquisitions Gallery, Syracuse, NY 1983 Everson Museum of Art, Syracuse, NY 1983 COMMISSIONS: Operhall Suite; [Series of 6 original works] Muskegon Museum of Art 1994 Symphony Suite; Gibbes Museum & Charleston Symphony Orchestra 1994 Gospel Suite in F; New England Conservatory of Music, Boston, MA 1994 Eroica; Morgridge Auditorium, University of Wisconsin, Madison, WI 1992 Balletté; Southworth Library, Canton College, Canton, NY 1991 A Une Passante; M. C. Wallace Library, Wheaton College, Norton, MA 1991 Festivale; K. B. K. Foundation, Boston, MA 1990 A Une Passante; SUNY Potsdam, Potsdam, NY 1989 Balletté; Ensign-Bickford Corp., Simsbury, CT 1987 Torus; Stratus Computer, Inc., Marlboro, MA 1986 Rondella; BNWC, Brandeis University, Waltham, MA 1985 Viole, Ayre; Asset Management, Inc., Essex, CT 1983 Cantata; Horne Library, Babson College, Wellesley, MA 1981 COLLECTIONS Museums Art Complex Museum, Duxbury, MA Ashmolean Museum, Oxford University, England Asian Art Museum, San Francisco, CA British Museum, London, England Columbia Museum of Art, Columbia, SC Currier Gallery & Museum, Manchester, NH Danforth Museum, Framingham, MA Davis Museum of Art, Wellesley, MA DeCordova Museum, Linclon, MA Delaware Museum of Art, Wilmington, DE Denver Art Museum, Denver, CO Detroit Institute of Arts, Detroit, MI Everson Museum of Art, Syracuse, NY Farnsworth Museum of Art, Rockland, ME Fine Arts Center at Cheekwood, Nashville,TN Fitzwilliam Museum, Cambridge University, England Gibbes Museum of Art, Charleston, SC Gibson Gallery & Museum, SUNY Potsdam, NY Greenville County Art Msueum, Greenville, SC Hara Museum of Contemporary Art, Tokyo, Japan Johnson Museum of Art, Ithaca, NY McKissick Museum of Art, Columbia, SC Minneapolis Institute of Art, Minneapolis, MN Munson-Williams-Proctor Institute of Art, Utica, NY Museum of Fine Arts, Boston, MA Museum of Fine Arts, Springfield, MA Muskegon Museum of Art, Muskegon, MI National Museum of American Art, Washington, DC Nelson Museum of Art, Kansas City, MO New Britain Museum of American Art, New Britain, CT Portland Museum of Art, Portland, ME Portland Art Museum, Portland, OR Princeton University Art Museum, Princeton, NJ Rose Art Museum, Waltham, MA San Diego Museum, San Diego, CA Smith College Museum of Art, Northampton, MA Taylor Museum/CSFAC, Colorado Springs, CO University of Michigan Museum of Art, Ann Arbor, MI Victoria & Albert Museum, London, England Wadsworth Athenaeum, Hartford, CT Williams College Museum of Art, Williamstown, MA Yale University Art Gallery, New Haven, CT Institutions American Embassy, Tokyo, Japan [selected] Arjo Wiggins/Arches S.A., Annonay, France Bank of America, Boston, MA Boso Yusi Company, Tokyo, Japan Boston Ballet, Boston, MA Canadian Foreign Ministry, Ottawa, Canada Chase Manhattan Bank, Vietnam Embassy of Japan, Abu Dhabi, United Arab Emirates FIA Institute, Tokyo, Japan Fidelity Ventures & Associates, Boston, MA Frederik Meijer Sculpture Gardens, Grand Rapids, MI Gauteng Legislature, Gauteng, South Africa German Embassy to Vietnam, Hanoi, Vietnam Helix Technology Corporation, Longmont, CO Ito-En Company, Tokyo, Japan JAFCO America Ventures, Boston, Palo Alto, Tokyo Japanese Consulates: Boston, MA; Atlanta, GA; San Francisco, CA Japanese Foreign Ministry, Tokyo, Japan Japan External Trade Organization, New York, Tokyo Kepner-Tregoe Company, Princeton, NJ Kobe Steel, Ltd Tokyo, Kobe Mochida Medicines, Inc., Tokyo Monsanto, European Division, Brussels, Belgium New England Conservatory of Music, Boston, MA Nueva Set-Kei, Inc. Tokyo, Japan Opinion Research Company, Princeton, NJ PAR Associates, Inc., Boston, MA Price, Waterhouse & Company, Greenwich, CT Princeton Club of Japan, Tokyo, Japan Saint Joseph's Heart Hospital, Lexington, KY Spencer, Fane & Browne; Shugert & Thomson, Kansas City, MO Temple Society of Concord, Syracuse, NY T. Rowe Price, Inc., Colorado Springs, CO University of Wisconsin School of Business, Madison, WI Vietnam Embassy to Canada, Ottawa, Canada Yankelovich, Skelly & White, Stamford, CT COLLABORATIONS Johannesburg, South Africa (& Artist Proof Studio) 1997 Duetts with: Kagiso Pat Mautloa, Durant Sihlali, Mmakgabo Sebidi, Dumisane Mabaso, Nhlanhla Xaba, Pepe Abela, Vincent Baloyi, Ntepe Osiah Masekwameng, Gordon Gabashane, Sokhaya Nkosi Vietnam (& Indochina Arts Project) 1995 Fine Arts Associations, Saigon, Hue and Hanoi; Ecole des Beaux Arts, Hanoi Duetts with: Do Minh Tam, Hoc Hai, Huy Oanh, Le Anh Van, Le Thong, Le Van Suu, Manh Tuan, Mai Khanh, Nghia Duyen, Thuc Ban, Tran Khan Chuong, Tran Luong Studio Duetts 1995-2001 With: Yuji Kishimoto (Architect -- Japan/USA), Emi Tajima (Japanese master caligrapher), Nguyen Quynh Nhu (Vietnam), Eduardo Chavez & Arturo Miranda (Mexico), Kyi May Kaung (Burmese Poet), Patrick Moraz (Swiss/American composer/performer), Jingalu (Aboriginal Australian artist), Rungsak Dokbua (Thailand), and Americans Don Grusin (Composer/performer), Dave Grusin (Composer/performer), Harry Skoler (Composer/performer), Sarah Schneider (Dancer/choreographer), Sally Ranney (artist/humanist), Cleo Parker Robinson (Dancer/choreographer) China (PRC) 2001-2004 Proposal for an Artistic Collaboration with China, 2001-2004 (38 pages). Involving ten Chinese Artists, streaming on the internet, development of 160 museum-quality Duett paintings for world-wide exhibition; budget 1.6 million USD. HIGHER EDUCATION Visiting Artist [Associate Professor One-year appointment] 1990/1991 Art Department, University of South Carolina Adjunct Professor 1991-1994 Art Department, Rivier College, Nashua, NH Fellow/Panelist The Aspen Institute Aspen, CO 2000 Conference on World Affairs [Univ of Colo, Boulder] 1990-1998 Visiting Artist Haverford School, Bryn Mawr, PA 1999 Clemson University, Clemson, SC 1997, 1998 African Institute of Art, FUNDA Soweto, South Africa 1997 Princeton University 1996 Williams College 1995 Bradford College 1994, 1998 College of Charleston 1994 University of Pennsylvania 1993 University of South Carolina 1990, 1994 SUNY Albany 1992, 1993 Pine Manor College 1987, 1989 Bentley College 1988 Simon's Rock/Bard College 1988 Brandeis University 1986 Lyme Academy of Fine Arts 1985, 1986 Emerson College 1985 Harvard University 1984, 1985 Mount Holyoke College 1984 Syracuse University 1983 Colorado College 1977 Director; Artist in Residence 1974-1977 Arts College House, University of Pennsylvania Taught Drawing (figure & still-life) and Photography Initiated Interdisciplinary Program: Dance, Music, Poetry, Theatre, Film, Architecture, Art SCHOOLS & PROGRAMS Instructor, Photography & Visual Arts 1974-1976 Adirondack Lakes Center for the Arts Chair, Performing Arts Department 1971-1974 Purnell School Instructor, Visual Arts Department 1970-1974 Purnell School [Taught (& developed syllabi for) 21 Studio arts courses] Juror, College Entrance Examination Board Area: Fine Arts 1972 AWARDS Selection Who's Who: in American Art; in the East; in the World Grants Krasner-Pollack Foundation Emergency Grant, 1999 Indochina Arts Project (Ford Foundation) 1994 Individual Artist Grant, South Carolina Arts Commission 1991 K. B. K. Foundation, 1991, 1994 High Meadow Foundation, 1990 Ford Venture Fund Grant [Univ. of Pennsylvania] 1975-1977 Haas Memorial Fund Fellowship, 1976 GRANTS IN KIND Kodak, Rochester, NY Papeteries Canson & Montgolfier, Annonay, France; Royal Talens BV Oil Paints, Apeldoorn, Holland Takach Etching Press Corp., Albuquerque, NM South African Airlines; American Airlines Korean Airline; Trans World Airlines PUBLICATIONS Film segmant Video Jukebox DeCordova Museum of Art, Linclon, MA 1999 Film David Chamberlain: Artistry in Motion {30 minutes} SC-ETV/PBS 1992 Book Melodic Forms: The Sculpture of David Chamberlain {75 pages, color} 1990 David Godine, Publisher Boston, MA Videotape Search for Perfection; {16 minutes} FIS/Pucker Safrai 1982 Award: Red Ribbon Category: The Arts American Film Festival, New York INTERVIEWS All Things Considered, National Public Radio Weekend Edition, Monitor Radio & Public Radio International CNN Headline News, Atlanta, GA International News Scene, Reuters Press International, New York/Hong Kong Terra Infirma, Corp. for Public Broadcasting BBC World, London Art Scene, S. Carolina Public Radio Jazz Times, Blue Lakes Public Radio, Grand Rapids, MI Conversations with Jean Feraca, Wisc. Public Radio, Madison, WI WBZ-TV Boston, MA WCNY-TV Syracuse, NY WNPE-TV Watertown, NY WSBK-TV Boston, MA WERS-Radio Boston, MA RELATED EXPERIENCE Designs Arts College House (Program) ; University of Pennsylvania, Philadelphia, PA 1975 Performing Arts Center (Architectural); Purnell School, Pottersville, NJ 1973 Fine Arts Center (Architectural); Purnell School, Pottersville, NJ 1971 Diplome Centre Audio Visuel Langues Modernes, Vichy, France 1973 School for International Training, Experiment in International Living, Putney, VT 1973 Graduate Credits Teaching Studio Art Institute, Colorado College, 1972 Consultant Sculpture Walk Project Univ. of South Carolina, Architectural Facilities Planning 1990/91 "How to create, fund and impliment a self-sufficient world-class sculpture collection" Speaker "[Man] In The Arena" , Haverford School, Haverford, PA 2000 "Architecture & Painting" Clemson University Dept of Art & Architecture, AIA Lecture 1997 Reflections on Creativity" Am. Inst. of Architects Convention, Highlands, NC 1994 "Neurons, Notes & Sketches", Conference on Art & Mathematics Albany, NY 1993 "Music into Sculpture", Conference on Art & Mathematics Albany, NY 1992 "On the Creative Process", Empire State Plaza Art Collection Albany, NY 1993 "Creativity and Fullfillment", Conference on Health & Spirituality Boston, MA 1991 Vocalist & Cahoots (jazz a cappella quartet) 1974-present Album Recordings: "Released" (1993) ; Arranger "Haven't We Met" (1991); All Good Children (octet) 1972-74 Album: "All Good Children" (1980); Canto Ergo Sum (sextet) 1971-72; The Footnotes (double sextet) 1967-1971 Album: "Another Summer...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 30 1/4 × 40 1/2 inches Unframed Commissioned by the Mr. and Mrs. Albert A. List Graphic Fund for The Jewish Museum, New York Signed, numbered and dated in graphite pencil on the front; bears publishers' blind stamp front left corner. Commissioned by the Mr. and Mrs. Albert A. List New Year's Graphic Fund for The Jewish Museum, New York. During the 1980s, various artists were commissioned to create a print celebrating the Jewish New Year. This is the silkscreen renowned sculptor Nancy Graves created to celebrate the year 5745 of the Jewish Calendar, beginning in September 1984 (Rosh Hashanah). This work was published in a limited edition of 90. The number 90 has special significance in Jewish gamatria (numerology) for several reasons, including the fact that it equals five times life - or Chai. The number for Chai, meaning "Life " s 18, and 18 x 5 = 90. This is a magical number in Judaism. All of the works were published in editions that were multiples of 18, or the Life. In her lifetime, Nancy Graves did not receive the renown or acknowledgement that her ex-husband and former Yale School of Art classmate Richard Serra did, but she is finally getting the recognition she richly deserves. Biography: Nancy Graves (1939 – 1995) is an American artist of international renown. A prolific cross-disciplinary artist, Graves developed a sustained body of sculptures, paintings, drawings, watercolors, and prints. She also produced five avant-garde films and created innovative set designs. Born in Pittsfield Massachusetts, Graves graduated from Vassar College in 1961. She then earned an MFA in painting at Yale University in 1964, where her classmates included Robert Mangold, Rackstraw Downes, Brice Marden, Chuck Close, as well as Richard Serra with whom she was married from 1964 to 1970. Five years after graduating, her career was launched in 1969 when she was the youngest artist — and only the fifth woman — to be selected for a solo presentation at the Whitney Museum of Art. Graves’ work was subsequently featured in hundreds of museum and gallery exhibitions worldwide, including several solo museum exhibitions. She was awarded commissions for large-scale site-specific sculptures and her work is in the permanent collections of major art museums. A frequent lecturer and guest artist, her work was widely documented during her lifetime. In 1991 she married veterinarian Dr. Avery Smith. Graves travelled extensively and was fully engaged with the cultural and intellectual issues of her times. Her brilliant career and life were cut short by her untimely death from cancer at age 54. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps, commingling scientific exactitude with abstraction. Resuming sculpture in the late 1970s, Graves was among the first contemporary artists to experiment with bronze casting. She re-invigorated the traditional lost wax technique by assembling cast found objects into unique improbably balanced sculptures, with bright polychrome surfaces and distinctive patinas. Throughout the 1980s Graves became widely recognized for her increasingly large and graceful open-form sculpture commissions. At the same time, she also expanded her drawing, painting, and printmaking practice and made large gestural watercolors. Then, in the late 1980s she created wall-mounted works that combined her explorations of sculpture, painting, form and color. In these large-scale pieces, she mounted high relief polychrome sculptural elements to the surfaces and edges of painted shaped canvases so that patterned shadows were cast onto the paintings and surrounding wall. By the 1990s Graves was casting in glass, resin, paper, aluminum, and bronze, combining these varied materials and colors into daring sculptures with moving parts. As she proceeded in all the media she mastered, Graves increasingly re interpreted and transmuted forms sourced from her own earlier artwork — rather than from outside research — creating elaborate compositions that form a layered a-temporal archaeology of her own visual production. Nancy Graves’ pioneering art...

Friedel Dzubas Night Star, 1984 Silkscreen on wove paper with deckled edges Pencil signed and numbered 24/90 on the front 32 3/10 × 19 1/10 inches Unframed Terrific silkscreen by ren...