Sarah SmelserMorning Walk XIX2021
2021
About the Item
- Creator:
- Creation Year:2021
- Dimensions:Height: 26 in (66.04 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Bloomington, IL
- Reference Number:1stDibs: LU1834210479632
Sarah Smelser
Utilizing transparent veils of color and thin Asian papers, Sarah Smelser creates prints with an abstract sensibility that are informed by drawing and that reference cartography, the body, cycles in nature, and mundane objects.
Smelser has had solo exhibitions at Bridgewater/Lustberg & Blumenfeld in New York City, Kathryn Markel Fine Arts in New York City, Urban Institute for Contemporary Art in Grand Rapids, Carnegie Mellon University, Bradley University, University of Wyoming, Diablo Valley College, Luther College and Spencer College. Her work is included in the collections of the Library of Congress, Ballinglen Museum of Contemporary Art, JP Morgan Chase Art Collection, Reader’s Digest Association, New York Public Library, the Zimmerli Museum at Rutgers University and the Royal Museum of Fine Arts, Antwerp. The artist received her BA from University of California at Santa Cruz, and her MA and MFA from the University of Iowa.
Smelser’s art has been included in many invitational and juried shows, and been shown at numerous art fairs including Art Frankfurt, Estampa, EXPO Chicago, the Affordable Art Fair NYC, Art Miami, Red Dot Art Fair in New York and Miami, Art Santa Fe, Art Chicago, EDITION Chicago, Boston Print Fair, Baltimore Contemporary Print Fair, Editions/Artists’ Book Fair, and the Los Angeles Art Show. Her work has been reviewed in Art on Paper; Abstract Art Online; Monotype, Monoprint & Strappo e-zine and New American Paintings.
Find original Sarah Smelser art on 1stDibs.
(Biography provided by Manneken Press LLC)
- ShippingRetrieving quote...Ships From: Bloomington, IL
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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21st Century and Contemporary Contemporary Abstract Prints
MaterialsMonotype
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2010s Contemporary Abstract Prints
MaterialsInk, Rag Paper, Intaglio, Monotype
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1980s Contemporary Abstract Prints
MaterialsAcrylic, Monotype
- Round Table /// Contemporary Street Pop Art Abstract Modern The Rolling StonesBy Kazuhide YamazakiLocated in Saint Augustine, FLArtist: Kazuhide Yamazaki (Japanese-American, 1951-) Title: "Round Table" *Signed and dated by Yamazaki in pencil lower right Year: 1981 Medium: Original Monotype on Arches paper Limited edition: (1/1) Printer: Perma Press, New York, NY Publisher: Perma Press, New York, NY Sheet size: 30" x 22.5" Image size: 24" x 18" Condition: Never framed, has been professionally stored away for decades. In mint condition Rare Notes: Provenance: acquired directly from the publisher Perma Press, New York, NY in the 1980's. Titled lower center and the medium inscribed lower left by Yamazaki in pencil. Perma Press chop mark/blind stamp lower left. Arches France watermark lower right. Kazuhide Yamazaki was commissioned to create elaborate and colorful stage artwork by The Rolling Stones for their 1981 American tour from September 25 - December 19, 1981, (see final photo for reference). Also known as the most painterly method among the printmaking techniques , a monotype is essentially a printed painting. The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible. Biography: Kazuhide Yamazaki is a Japanese born artist who studied printmaking in San Francisco now living in New York City. The artist is best known for his work for The Rolling Stones. On their 1981 American tour, he designed the sets, tour poster, t-shirts, and record cover of the tour album. His unique hand painted monotypes can be found in many important collections including The Brooklyn Museum and the J.P. Morgan Chase Art Collection. From an article by Rolling Stone magazine on Yamazaki and his artistic contribution to The Rolling Stones' 1981 Tour: "Designed by Japanese artist Kazuhide Yamazaki, the stage was the largest mobile concert set ever built: sixty-four feet wide, with eighty-foot ramps stretching out from the right and left sides, and another 150 feet of fluttering silk strips streaming into the bleachers. The massive scrims surrounding the stage — painted with post-modernist pastel...Category
1980s Contemporary Abstract Prints
MaterialsMonotype, Acrylic
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1980s Contemporary Abstract Prints
MaterialsMonotype, Acrylic
- "Arroyo, " Woodcut and Monotype Landscape signed by Carol SummersBy Carol SummersLocated in Milwaukee, WI"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...Category
1980s Contemporary Abstract Prints
MaterialsMonotype, Woodcut
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Late 20th Century Contemporary Prints and Multiples
MaterialsMonotype