Recent Acquistions

Shirley Goldfarb, "Yellow", 1969

Oil on canvas
25.75 x 36.25 inches
50.8 x 166 centimeters

Painted in 1969, this piece bridges her earlier monumental Abstract Expressionist paintings with Minimalism, using a singular color, palette knife and gridded patterning to achieve an almost meditative energy in this painting, called simply Yellow. It is the feeling of the color as much as the hue itself that she captures.

Vija Celmins, "Galaxy", 1975

Color lithograph on Twinrocker handmade paper (62/75)
12.5 x 16.5 inches (image)
16.5 x 20 inches (sheet)
41.9 x 50.8 centimeters

Galaxy is one of a set of four lithographs Celmins made from pencil drawings of a night sky, a day sky, the surface of a sea, and an area of rocky desert earth. The lithographs were produced in an edition of seventy-five. The set was printed by the Cirrus Press, Los Angeles and published by the artist.

Yes, the night sky outside of big cities, does look just like this.

Florence Pierce: “My works are contemplative. They’re about stilling the mind.”

The origin of the resin works, which Pierce would go on to explore, refine,
and create for the rest of her artistic life, is well known.
In 1969 while working on a foam piece Pierce accidentally spilled some resin
onto a piece of aluminum foil. She held the foil to the light and the effect of the
mirror surface reflecting light up through the resin entranced her.
From then on, resin became her main material — used to create
“lustrous surfaces that appeared to emanate ethereal light,”
according to a 2006 article about Pierce in Art in America magazine.

In the beginning, Pierce poured the resin onto mirrored glass.
However the resin did not bond well with the surface.

Eventually she began to use Plexiglas mirrors (Mirrorplex) which allowed the resin to stick.
Art critic Julie Sasse writes of these pieces,

“Whereas her earlier easel paintings relied on color and light,
these new works created their own emanating glow …”

Florence Miller Pierce, "Untitled (Triangle)", 1985

Resin relief
35h x 35w x 2d inches
89h x 89w x 5d centimeters

Beauford Delaney, "Embrun", 1963

Oil & watercolor on paper
26 x 19 inches
66 x 48 centimeters

“Embrun” is French for “spray”, as it relates to water. Specifically, water dust blown away from crests of waves or formed by crashing waves.

This is an excellent example of the abstract works on paper painted in Paris by Delaney beginning in the late 1950s. From my own personal experience, 1963 was a very productive year and many of Delaney’s major paintings from Paris date from this year. This work has the classic yellow and green which the artist is most famous for, particularly the yellow color. 

Delaney had his own circle of artists as friends…Lawrence Calcagno, Henry Miller, Georgia O’Keeffe, and his best friend, James Baldwin. 

As I write this I wonder if he ever knew Ed Clark, or Joan Mitchell or even Shirley Goldfarb who also exhibited at Studio Fachetti in the 1960s.


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No. 203
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