Allan D'Arcangelo 1

Resonance, Allan D'Arcangelo

1978

Artist: Allan D’Arcangelo (1930-1998) Title: Left Turn Year: 1979 Edition: 148/175, plus proofs Medium: Silkscreen on Arches paper Size: 34 x 26 inches Condition: Excellent Inscripti...

Artist: Georg Karl Pfahler (1926-2002) Title: Version 8 Year: 1969 Edition: 36/100, plus proofs Medium: Silkscreen on wove paper Size: 25.5 x 25.5 inches Condition: Excellent Inscrip...

Artist: Peter Max (1937) Title: Flag Year: 1997 Medium: Lithograph and acrylic on Arches paper Size: 12 x 14 inches Condition: Excellent Inscription: Signed and by the artist. PETER...

Artist: Peter Max (1937) Title: Mona Lisa Year: 1998 Medium: Lithograph and acrylic on Arches paper Size: 12 x 14 inches Condition: Excellent Inscription: Signed and by the artist. ...

Artist: Peter Alexander (1939) Title: Sitka Year: 1988 Edition: 75, plus proofs Medium: Lithograph on Guarro paper Size: 22 x 30 inches Condition: Excellent Inscription: Signed and n...

Artist: Peter Max (1937) Title: Two Sages Year: 1998 Medium: Lithograph and acrylic on Arches paper Size: 12 x 14 inches Condition: Excellent Inscription: Signed and by the artist. ...

Artist: Allan D'Arcangelo, American (1930 - 1998) Title: June Year: 1969 Medium: Silkscreen, signed and numbered in pencil Edition: 6/100 Size: 14 x 12 in. (35.56 x 30.48 cm) Frame: ...

Paula Scher China, 2013 Hand pulled silkscreen on deluxe Lanaquarelle paper 24 3/5 × 28 1/5 inches Edition of 95 Pencil signed and numbered on the front Unframed Paula Scher Biography Renowned graphic designer and artist Paula Scher's silkscreen China, from her map series, represents a subjective take on the country’s superpower status. Through the visual vibrancy of information overload in the print, Scher captures the swift transformations taking place in a country steeped with a rich cultural and historical fabric. The multi-directional, scrawled names of sites and statistics speaks to China’s complicated history, from its imperial age of dynasties and warlord conquests, to the violent tumult of its communist conversion. Paula Scher is one of the most influential graphic designers in the world. Described as the “master conjurer of the instantly familiar,” Scher straddles the line between pop culture and fine art in her work. Iconic, smart, and accessible, her images have entered into the American vernacular. Scher has been a partner in the New York office of Pentagram since 1991. She began her career as an art director in the 1970s and early 80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater...

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 Pre...

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 ...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...

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 ...