Charles Fazzino

Desert Green, Palm Springs, 3-D Golf Print by Charles Fazzino

1993

Handsigned edition of 250. 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...

Handsigned edition of 250. 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...

5-color silkscreen on 2-ply museum board. edition of 60 hand signed and numbered. American, 1955-2014 Born in 1955, Tom Slaughter’s career began in 1983 with his first exhibition at the Drawing Center in New York City. Since, he has had more than 20 solo shows in cities including San Francisco, Miami, London, Vancouver, Cologne and Fukuoka, Japan. Slaughter had worked extensively with master printer, Jean Russell at Durham Press, creating numerous limited edition prints using his signature bold primary colors. He worked as a printmaker in collaboration with Durham Press for 25 years, and his editions are included in the permanent collections of MoMA and the Whitney Museum of American Art. He illustrated twelve children’s books, including “Boat Works,” “Do You Know Which Ones will Grow? ” – a 2011 Notable American Library Association book of the year – and collaborations with Marthe Jocelyn such as “ABC x 3,” “Same Same,” and “123.” These books have been translated into six languages. Slaughter also worked for the last ten seasons as the Art Director for the New Victory Theater. As a designer, he created everything from t-shirts to skateboard decks, beach towels as well as a line of wallpaper for Cavern Home. Tom Slaughter, an artist, designer, and illustrator, passed away on October 24, 2014. In his Pop-inflected prints, drawings, illustrations, paintings, and design work Tom Slaughter exudes a love of life. He makes few distinctions between his various artistic endeavors; “I paint, draw, cut paper, use a computer, and even an iPhone—it’s all the same hand,” he says. In a 2001 print...

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...

Handsigned edition of 250. 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...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 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. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

SAJIPPE KRAKA JOUJESH Year: 1998 Medium: Silkscreen Size: 39 x 46 inches (99 x 117 cm) Edition: 150 Price: $4,000 Kenny Scharf was born in 1958, in Hollywood, California. The artis...

SAJIPPE KRAKA JOUJESH Year: 1998 Medium: Silkscreen Size: 39 x 46 inches (99 x 117 cm) Edition: 150 Price: $4,000 Kenny Scharf was born in 1958, in Hollywood, California. The artis...

Sigmar Polke Preisvergliech (Price Comparison), 2001 offset lithograph/silkscreen on card stock 39 1/2 x 27 inches Edition of 75 signed, dated and numbered recto in ink; printer...

Alex Katz was born in 1924 to a Jewish family in Brooklyn, New York, as the son of an émigré who had lost a factory he owned in Russia to the Soviet revolution. In 1928 the family moved to St. Albans, Queens, where Katz grew up. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan's plein air painting gave him "a reason to devote my life to painting." Every year from early June to mid-September, Katz moves from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. A summer resident of Lincolnville since 1954, he has developed a close relationship with local Colby College. From 1954 to 1960, he made a number of small collages of still lifes, Maine landscapes, and small figures. He met Ada Del...