Joel Shapiro Art

Pierre Clerk African Suite #7 Monaco - 1980 Print - Silkscreen, on Arches archival paper 30.5'' x 19.5'' Edition: Signed in pencil, dated and marked 173/200 unframed The images of ...

Prizma IV Color silkscreen Signed and titled by hand Size: 20.3 × 20.3 on 28.9 × 25.0 inches COA provided Marko Spalatin was born in Zagreb, Croatia. He immigrated to the US in his ...

Artist: Josef Albers (German-American, 1888-1976) Title: "JHM - II" Portfolio: Josef Albers Honors the Hirshhorn Museum and Sculpture Garden *Monogram signed and dated by Albers in p...

Offset print with coater varnish Edition of 294 of 300 71 cm (D) (28 in) Signed, numbered and titled on front Mint. Minor imperfections may appear due to the production process. Sold...

Max Bill Composition with white center Color silkscreen Year: 1972 Edition: Edition for "Look at" Size: 23.3 × 23.3 inches Unsigned, unknown edition size (pres. ~2,000) - sometimes a...

Original mailing tube this poster was shipped in from Pictures on Walls (POW) London, when it was first purchased is included. This gives the poster excellent provenance. Beautiful a...

Violet composition is an original artwork realized in 1975 by Oscar Piattella. Hand signed, dated on the lower right margin. Numbered on the lower left. Edition of 54/100 prints. ...

Brice Marden Elevation print (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery, NY Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Offset print, cold stamp and high gloss varnishing Edition of 300 Diameter: 71 cm (27.9 in) Signed and numbered on front Mint. Minor imperfections may appear due to the production pr...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

A Red, from Three Aquatints, 1979 Aquatint on six copper plates printed on Rives BFK paper Paper Size: 40 3/4 x 40 3/4 inches (103.5 x 103.5 cm); Image Size: 33 x 33 inches (83.8 x 83.8 cm) Signed and titled lower left front Edition of 50, 10 AP, 3 TP Published by Parasol Press, New York Printed by Hidekatsu Takada, assisted by David Kelso, Crown Point Press, Oakland, California Robert Mangold (born October 12, 1937) is an American minimalist artist. He is also father of film director and screenwriter James Mangold. Mangold first trained at the Cleveland Institute of Art from 1956-59, and then at Yale University, New Haven, (BFA, 1961; MFA, 1963). In 1961 he married Sylvia Plimack, and they moved to New York. In the summer of 1962 Mangold was hired as guard at the Museum of Modern Art. Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling architecture to them. He almost always works in extensive series, often carried through both paintings and lithograph works on paper. Mangold’s early work consisted largely of monochromatic free-standing constructions. In 1968 he began employing acrylic instead of oil painting, rolling rather than spraying it on Masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. In 1970 he began working with shaped canvases and within the year began brushing rather than spraying paint onto canvas. Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions. In 1965, the Jewish Museum in New York held the first major exhibition of what was called Minimal art (Minimalism) and included Robert Mangold. In 1967, he won a National Endowment for the Arts grant and in 1969, a Guggenheim Fellowship. In 1971, he had his first solo museum exhibition at the Guggenheim Museum. Major museum exhibitions of his work have since been held the Museum of Contemporary Art, San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée d’Orsay in Paris (2006). He has been featured in the Whitney Biennial four times, in 1979, 1983, 1985, and 2004. His work is related to Geometric Abstraction. Select Exhibitions Robert Mangold, Bruce Nauman, Richard Serra: Extended Drawing, Bonnefantenmuseum Accrochage: Donald Judd, Louise Lawler, Sol LeWitt, and Robert Mangold, Galerie Greta Meert, Carl Andre, Dan Flavin, Donald Judd, Robert Mangold, Robert Ryman, Andrea Rosen Gallery, NY Tara Donovan, Sol LeWitt, Robert Mangold, James Siena: Minimalist Prints, Augen Gallery, Portland Modulated Abstraction: Josef Albers, Carl Andre, Donald Judd, Ellsworth Kelly, Sol LeWitt, Robert Mangold, Fred Sandback, Richard Tuttle, Brooke Alexander Editions, New York, NY Drawings from the 1970’s, Mel Bochner, Robert Mangold, Robert Moskowitz, Fred Sandback, Richard Tuttle, Lawrence Markey, New York, NY Systematic: Anne Appleby...