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Twenty Five Years of Pelavin Editions On through October 27th, 2007 |
Welcome to our Fall Newsletter.
Our Twenty Fifth Anniversary Exhibition Remains on View through this Saturday. This is your last chance to visit many truly wonderful works from our archives, while a selection of our favorites by Harriet Shorr, Kojo Griffin, Valentina DuBasky,Ford Crull, Agnes Jacobs and Lisa Breslow have been sold and some taken right off the wall, there are wonderful pieces by Freya Hansell, David Humphrey, David Dupuis, Helen Oji, Chris Costan, Francesc Torres, John Bowman, Lizbeth Mitty, Marc Katano, Lawrence Gipe, Alexis Rockman and many more still on display.
On the theme of 25 year anniversaries being the old person I am has it's benefits; two of our terrific local newspapers saw fit to interview me due to my 25 years of survival as a contemporary art dealer and publisher in TriBeCa. Thanks to fine writing and good photography the articles are fun to read.
Abby Luby wrote for the Downtown Express with photography by Geoff Smith.
Allison Simco wrote for the Battery Park City Broadsheet, with a photo by Robert Simco |
Judith Miller, Staple Street, After the Rain, oil on linen, 39 x 52 inches, 2005 |
Judith Miller's second exhibition with us opens on Wednesday, November 7th, 2007, from 6 to 8pm. We will send you a special announcement, but in the meantime her art is up on our website and her press release is available.
Judith's new pieces make good work of the abstracted planar forms she finds in New York City's urban reflections. The same concept is applied for reflections seen in her native Ohio, yet in Ohio the paintings display a different geometry.
The intensity of the artist's vision has produced profoundly beautiful images. Her visual sensitivity leads to a refined realization of the subject matter. The experience of one of Miller's paintings is a unique one, her total commitment to her vision and the medium of painting itself makes this true.
Mark your calendars for this exciting art opening. |
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We look forward to sharing all of this exciting and beautiful art with you. You can also see who will be showing later this year on our website.
See you soon and best wishes,
Cheryl Pelavin
Director
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The Print Shop at Pelavin Editions
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Valentina DuBasky has been collaborating with Pelavin Editions since it's inception. Valentina was the first artist to work here. Her latest series of monotypes are yet another brand new effort. They are large scale watercolor monotype diptychs. They have the sure hand of the practiced artist and the fresh joy of creativity. |
Lisa Breslow has completed her third series of monotypes with us. The artist, who is known for her inward looking pastoral images, has turned her attention to Central Park in the heart of New York City. Her inspiration was the reflections of the city on Central Park Lake at night. Breslow referred to the original images as nocturnes, but as the series progressed and the collaboration grew the images turned into early morning,dusk and night. Brian Pilliod was the printer and collaborator,he assisted Breslow in achieving her results, one of his suggestions, that they work on hand made indian pastel toned papers, is what gives this suite it's unique appearance. Occasionally only in the highlights can the original colors still be seen.
These works were featured and illustrated in IN New York Magazine, August, 2007.
The images above were created for Pelavin Editions pigment print projects by Lisa Breslow, we have published the suite in an edition of 50 each.
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Margaret Neill's beautiful paintings are informed by movement in search of a quiet space. Her inspiration is often drawn from her daily movements from walking the dog to cycling in her Brooklyn neighborhood. We invited her to create images for our Pelavin Editions Pigment Print series and she created these four intiguing pieces. Neill is as adept on the computer and camera as she is painting. For those of us familiar with her work these visions make a lovely connection to her paintings and works on paper. |
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Lawrence Gipe's dramatic and stunning series of new monotypes is called Zirkus and Varieté. The artist printed on Hiromi and Yatsuo Japanese papers, while "pulling out" his images from a black background applied to the plate. The artist used his fingers and various tools to create the marks.
The images refer to local German entertainment in the period just leading up to World War II. With or without this in mind the the images have a wonder and poignancy. The delicacy of the paper adds to the fine quality of the image.
In another new project, this time with California artist, Marc Katano, we used Asian hand made papers again. Master printer, Brian Pilliod and Katano collaborated on a series of monotypes called New York Loops. The result of the collaboration is a new approach to monotype for the artist and our shop. By combining the artist's painting techniques with our printing techniques we came up with something never done in our shop or by the artist before.
These pieces have a very beautiful object quality that make them wonderful to feel in the hand as well as to examine visually, they printed papers even sound beautiful as they are handled.
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Marking the inagural pigment print project at Pelavin Editions, Harriet Shorr created 5 pigment prints in an edition of 15 each. Shorr digitally manipulates aspects of her primary works to create layered digital images that exist only in the digital format until printed. These works use color fast pigment ink and are printed on Hahnemuhle Digital Fine Art paper.
Shorr created very charming images that touch on the subject of her current exhibition, "Persephone". They are proving very popular with our collectors.
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Judith Linhares completed a wonderful suite of monotypes to start off the New Year at Pelavin Editions. With the concept of creating an abstract ground, Linhares implemented the use of the Rorschach Test. Coupled with her signature flower studies, these works represent the versitility and delicate nature of the monotype format.
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Master printer Brian Pilliod working with Judith Linhares and a shot of our workshop with Marc Katano's NY Loops suite in progress.
What is a monotype?
Monotype is at least 300 years old. It started with artists covering glass plates with black printing ink and then using their fingers or brushes to delicately remove the ink. The artist had to be sure to leave behind enough ink to create the various tones and shades in the finished work that are the hallmark of a beautiful monotype. In 1980 The Metropolitan Museum of Art exhibited "The Painterly Print - Sevententh Century to Twentieth Century". This was a landmark exhibition, the catalogue is still available and chock full of fascinating images and information on the monotype.
Degas's monotypes are known today for his use of color and the addition of pastel. Artist's have been doing monotype continuously because it is a source of wonder and surprise for them. It is less constrictive than etching or lithography and can easily be self taught. Harriet Shorr makes many of her monotypes in her own country studio by hand rubbing the back of the paper face down on the plate to create her finished image.
Many contemporary artists like to work in collaboration with a print atelier like our own. We have a large etching press and decades of experience working with various mediums. We invite artists in to do a project and then "collaborate" with them to find the medium and materials best suited to their needs. I try to create a sense of play in the shop and to inspire the best work possible with our media.
Technically a monotype is an image that is painted on a plate, in our case a sheet of plexi glass, although this varies with the project. The painted plate is placed on the press, a damp sheet of paper is applied over it and then it is run through the press by hand. Blankets protect the back of the paper from the roller and help to create a finely toned image.
The magic occurs when the paper is lifted off of the plate. The entire image is now transposed onto the paper. Unlike a painting on paper the paint is not soaked into the paper, but instead "sets up" giving a very rich and exciting look to the colors and surface of the paper.
Once a monotype is printed there are no more printings possible. Occasionaly we can re-print a plate that has been printed and get a "ghost" image, but this is a starting point for a new image, not an image in itself. The tones have gone flat and there isn't enough depth to create an intersting work of art. Each monotype we make is a unique and discrete work of art. Often the artist goes into the piece by hand with paint or a variety of other mediums before signing it. Monotypes can be a combination of the monotype itself and drawing or painting.
We have been making monotypes in our studio for over 25 years! |
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Monotypes