John Armleder Swiss, b. 1948
Divisions (41/48), 2016
Screenprint
40 x 40 in
$3,500
John Armleder (Swiss, b.1948)
Divisions
2016
Silkscreen
Edition of 48
Signed, dated, titled and numbered in pencil
Sheet: 40 x 40 inches (101.6 x 101.6 cm)
Silkscreen printed in two colors with a mix of Golden and Speedball inks, a fine, fresh impression of the only state, the full sheet, printed on smooth white 335gsm Coventry Rag paper, hand-signed, dated, titled and numbered in pencil on the reverse, executed in an edition of 48 (there were also 4 numbered and annotated Artist's Proofs, IV numbered and annotated HC proofs, 2 numbered and annotated Printer's Proofs, 1 annotated proof for the archives of the Cabinet d'arts graphiques, Geneva and 1 annotated BAT proof), printed by Brad Ewing at The Grenfell Press, New York with assistance of Marco Lawrence of the Lower East Side Printshop, New York, published by World House Editions, Middlebury, Connecticut, in fine condition, unframed.
Literature:
Tallman, Susan. "Dot Dot Dot," article in Art in Print, Volume 6, Number 6, March-April 2017, pp.26-27.
Staff. "News of the Print World: Selected New Editions", article in Art in Print, volume 6, number 2, September-October 2016, p.50 (another example).
Notes:
John Armleder has been using the dot motif since the late 1970s and they can be found in the artist’s paintings, drawings, prints and even multiple objects. Clearly paying homage to such avant-garde artists as Francis Picabia, Alexander Rodchenko, Larry Poons and even Tom Downing, John Armleder, through his notion of appropriation, has raised the simple, optical concept and arrangement of dots from a pure mode of abstract pictorial composition to a systematic concept of representation and perhaps even structural analysis.
Divisions
2016
Silkscreen
Edition of 48
Signed, dated, titled and numbered in pencil
Sheet: 40 x 40 inches (101.6 x 101.6 cm)
Silkscreen printed in two colors with a mix of Golden and Speedball inks, a fine, fresh impression of the only state, the full sheet, printed on smooth white 335gsm Coventry Rag paper, hand-signed, dated, titled and numbered in pencil on the reverse, executed in an edition of 48 (there were also 4 numbered and annotated Artist's Proofs, IV numbered and annotated HC proofs, 2 numbered and annotated Printer's Proofs, 1 annotated proof for the archives of the Cabinet d'arts graphiques, Geneva and 1 annotated BAT proof), printed by Brad Ewing at The Grenfell Press, New York with assistance of Marco Lawrence of the Lower East Side Printshop, New York, published by World House Editions, Middlebury, Connecticut, in fine condition, unframed.
Literature:
Tallman, Susan. "Dot Dot Dot," article in Art in Print, Volume 6, Number 6, March-April 2017, pp.26-27.
Staff. "News of the Print World: Selected New Editions", article in Art in Print, volume 6, number 2, September-October 2016, p.50 (another example).
Notes:
John Armleder has been using the dot motif since the late 1970s and they can be found in the artist’s paintings, drawings, prints and even multiple objects. Clearly paying homage to such avant-garde artists as Francis Picabia, Alexander Rodchenko, Larry Poons and even Tom Downing, John Armleder, through his notion of appropriation, has raised the simple, optical concept and arrangement of dots from a pure mode of abstract pictorial composition to a systematic concept of representation and perhaps even structural analysis.