Garvey|Simon Prints and Multiples

Ann Aspinwall’s Helios is a striking large-scale work that exemplifies her mastery of minimal color and intricate mark-making. Known for her precise printmaking and deep understandin...

Aspinwall adhered to a certain principle. She drew one freehand line as straight as possible. Under that line she drew another, following as closely as she could the one above it. Ea...

Each made with only two colors, the prints are masterful marriages of vibrant autumn leaves and crystalline sky. Titled Eklat (German for éclat) these works are a stunning display of...

Each made with only two colors, the prints are masterful marriages of vibrant autumn leaves and crystalline sky. Titled Eklat (German for éclat) these works are a stunning display of...

Each made with only two colors, the prints are masterful marriages of vibrant autumn leaves and crystalline sky. Titled Eklat (German for éclat) these works are a stunning display of...

Each made with only two colors, the prints are masterful marriages of vibrant autumn leaves and crystalline sky. Titled Eklat (German for éclat) these works are a stunning display of...

Crepe de Chine III is a jewel-toned screen sprint featuring a serene, undulating terrain of free-flowing lines. Aspinwall works primarily in print mediums because they afford her a m...

Crepe de Chine IV is a jewel-toned screen sprint featuring a serene, undulating terrain of free-flowing lines. Aspinwall works primarily in print mediums because they afford her a me...

Joel Shapiro's post-minimalist work often references the human body, in a variety of poses, represented by geometric forms. In Untitled, 1992, a blue square is seated firmly atop a black rectangle, which has landed in a seeming haphazard manner within the view frame. The forms have light, sketchy lines around them, reminiscent of Futurist dynamism markings or perhaps a draftsman's study of dimensions. In the upper right, a series of these sketchy markings seem situated somewhere between motion and form. Shapiro has assembled mechanism, geometry, balance, fluid, solid and motion into this dynamic etching, which was produced by Pace Prints...

Printmaker Ann Aspinwall draws a freehand line, as straight as possible; and beneath that line drew another, following as closely as possible the one above. Each successive line foll...

Printmaker Ann Aspinwall made this etching in 1999, while living in Venice. During those years she did several etchings that adhered to a certain principle. She drew a freehand line, as straight as possible; and beneath that line drew another, following as closely as possible the one above. Each successive line followed the line directly above, imitating all the curves and shakes. These imperfections, or deviations from the original line, became more and more prominent, each line being an interpretation of what came before it. Around that time, Aspinwall discovered the writing of John Dewey on the subject of rhythm in his Art as Experience (1934): Rhythm, writes Dewey, is an “ordered variation of changes.” There is no rhythm “when there is a uniformly even flow, with no variations of intensity or speed,” when “variations of pulse and rest do not occur.” “Variations of intensity are relative to the subject matter directly experienced. Each beat, in differentiating a part within the whole, adds to the force of what went before while creating a suspense that is a demand for something to come. It is not a variation in a single feature but a modulation of the entire pervasive and unifying qualitative substratum.” Ten years later Aspinwall returned to this plate. Looking at it again after a long time she perceived the strong influence of Venice; the texture calls to mind water and fabric. The artist was unable to decide on one color for an edition, so after printing many color proofs, she chose ten combinations of colored lines on colored Japanese papers. The prints evoke the light and surfaces of Venice. The title of the series, Tessuto Veneziano, means Venetian textile...

Crepe de Chine I is a pastel-colored screen sprint featuring a serene, undulating terrain of free-flowing lines. Aspinwall works primarily in print mediums because they afford her a ...

Crepe de Chine II is a pastel-colored screen sprint featuring a serene, undulating terrain of free-flowing lines. Aspinwall works primarily in print mediums because they afford her a...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

In his Ukiyo-e monotype, Opus 9, 2011, Keiji Shinohara uses the tradition of landscape as a playground for his dialogue between eastern and western tradition. Shinohara's flattened s...

In his "Symphony (TP)," 2002, Keiji Shinohara flattens a sunset landscape to its most essential visual elements in the tradition of Japanese woodcut, while updating the medium with t...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

In his monotype, Opus 11, 2008, Keiji Shinohara uses his medium to disrupt the formulation of the landscape genre. A cross-section of sky, or perhaps water, inserts itself into the rich red pigment of the earth. The pale yellow and blue...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

Joel Shapiro's post-minimalist work often references the human body, in a variety of poses, represented by geometric forms. In Untitled, 1992, a rust-red rectangle supports three black rectangles piled at varying angles. The forms have light, sketchy lines around them, reminiscent of Futurist dynamism markings or perhaps a draftsman's study of dimensions. A gelatinous blue form intersects the balanced rectangles, while further blue forms tumble out of a fanned series of black triangles. Shapiro has assembled mechanism, geometry, balance, fluid, solid and motion into this dynamic etching, which was published by Pace Prints...