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Posts Tagged ‘Print Series’

Boston: See Our Prints at Harvard Square

August 15, 2016 | by

exhibition_hero

Since 1964, The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributors have included Andy Warhol, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

Through September 15, our readers in Boston and Cambridge can head to Aesop Harvard Square, at 49 Brattle Street, where seven of our favorite prints are on display:

Aesop consultants will be available to provide tours. Read more here.

Andy Warhol, 1965, silkscreen.

Janet Fish: Glass & Plastic

January 20, 2016 | by

Janet Fish, Untitled, 1984, lithograph poster, 26” x 33”, edition of 250, signed and numbered

Janet Fish’s “Glass & Plastic: The Early Years, 1968–78” is at DC Moore Gallery through February 13, featuring an impressive array of her trademark still lifes and her work with light. “The reason for painting glass was to totally focus on light, and the glass held the light,” Fish said in 1968. She said of her approach to still life, “It’s really as much painting life as anything else … because it’s not dead. Things aren’t dead. The light is through everything and energy through everything.”

In 1964, The Paris Review launched a series of prints by major contemporary artists. Underwritten by Drue Heinz, the series was designed to encourage works in the print medium and to publicize the magazine. Largely through the efforts of Jane Wilson, who was chosen by George Plimpton to direct the program, dozens of artists donated signed and limited editions of original work. The print above, by Janet Fish, was completed in 1984; it’s still available from our online store.

Below, four works from the DC Moore exhibition.
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Marisol

January 6, 2015 | by

Marisol

Marisol Escobar, Untitled, 1965, silkscreen, 26.5" x 32.5".

Probably my favorite entry in The Paris Review’s print series is Marisol Escobar’s, from 1965. It hangs in our office, where, especially on hot summer days, I gaze at it when I’m feeling thirsty. It is, at zero calories, the ultimate in refreshment. But we can safely assume that Marisol had little interest in the contents of the magazine. “I don’t like to read,” she said flatly in a 1968 interview. “It bores me.”

Very well, Marisol. Agree to disagree.

For a few more days—until January 10—New Yorkers can see this print, along with other sculptures and works on paper by Marisol, at El Museo del Barrio, where she’s having her first solo show in a New York museum.

Marisol, who’s eighty-four now, is famously taciturn—she speaks no more than she has to. (Take these exchanges from another interview: Do you watch movies or TV?” “No.” Would you recommend sculpture as a career?” “Yes.” “Do you communicate with any other artists?” “No.”) She’s best known for her figural sculptures, which, like her Paris Review print, satirize the culture and fit comfortably—if singularly—into the tradition of Pop Art. But she’s cryptic, to put it mildly, about her process. “In the beginning I drew on a piece of wood because I was going to carve it,” she said in that ’68 interview. “And then I noticed that I didn't have to carve it, because it looked as if it was carved already.”

Rather than waste more words, then, I’ll get onto the work itself: below, more pieces from the El Museo del Barrio exhibition. Read More »

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The Brain of the City

October 22, 2014 | by

Rauschenberg

Robert Rauschenberg, Untitled, 1965, lithograph, 25" x 21".

I once heard Jasper Johns say that Rauschenberg was the man who in this century had invented the most since Picasso. What he invented above all was, I think, a pictorial surface that let the world in again. Not the world of the Renaissance man who looked for his weather clues out of the window; but the world of men who turn knobs to hear a taped message ... electronically transmitted from some windowless booth. Rauschenberg’s picture plane is for the consciousness immersed in the brain of the city.
—Leo Steinberg, “Reflections on the State of Criticism,” Artforum, March 1972

Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

This print is by Robert Rauschenberg, who died in 2008; he would be eighty-nine today. His print came in an edition of 150 that has, alas, sold out, but there are many others available here.

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Holidays, via The Paris Review

December 16, 2013 | by

Richard Anuszkiewicz, Untitled

Richard Anuszkiewicz, Untitled.

We have already reminded you about the wonderful gift that is a full year—or even two, or three!—of the best in prose, poetry, interviews, and art. But don’t forget, there is also the Paris Review print series, allowing you to share an archive of nearly fifty years of contemporary masterworks.

Subscribe now! And see our print series here.

 

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Jim Dine, Untitled, 1975

April 22, 2013 | by

imgprint_large_dine_grande

Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.

 

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