#kennethtyler

[lesliesacksgallery]

#StaffPicks | David Hockney, Views of Hotel Well II, 1985 -- In 1984, while traveling to an exhibition opening in Mexico City, David Hockney's car broke down and so he was forced to make an impromptu stop at the Hotel Romano Angeles in Acatlan, Mexico. He decided to stay at the hotel while his car was being repaired and while there made some sketches of the colorful hotel architecture and lush courtyard. The artist returned to the hotel later in the year (this time with printer Kenneth Tyler) and began working on a series of lithographs using a new technique developed by Tyler known as the Mylar layering technique. It was portable and allowed the artist to work outside of the print shop. The resulting prints (which are part of the larger Moving Focus series) are a wonderful exploration of perspective and space. Views of Hotel Well II,1985 reads like a concentric circle to my eye with each "layer" seeming to have its own perspective. Starting from the outermost layer, the frame (designed by the artist), initially grounds the work in a single dimension as if we were looking at it straight on. Moving inward to the veranda, the viewpoint shifts as if looking at once both left and right down the corridors. The perspective shifts again as you go deeper into the vegetation which is rendered from a bird's eye view. And finally, the well at the center of the composition seen in-the-round from multiple angles. The combination of experimental perspective and striking colors make for a wholly attractive and inventive piece. –Sang Lee, Special Projects -- Artwork info: David Hockney, Views of Hotel Well II, from Moving Focus, 1985, lithograph in hand-painted frame designed by the artist, 25 1/4 x 32 1/8 inches, edition of 75, signed and numbered -- #hockney #davidhockney #movingfocus #printmaking #kentyler #kennethtyler #tylergraphics #arthistory #lsg #lesliesacksgallery #hotelwell #hotel #acatlan #mexico #mexicocity #britishartist #britishart #british #perspective #concentric #viewpoint #design #framing #halloween (at Leslie Sacks Gallery)

[budaallmusic]

Steve Lacy Sextet ‎– Scraps #Saravah 1974 🇫🇷 France Artwork [Cover Drawing] – #AlexAebi Bass, Cello – #KentCarter Engineer – Christian Gence Engineer [Assistant] – Pascal Belaud Percussion, Flute – #KennethTyler Photography By – #BunnyBrissett Piano, Keyboards [Organette] – #MichaelSmith Soprano Saxophone, Bells [Small], Composed By – #SteveLacy Tenor Saxophone, Alto Saxophone, Soprano Saxophone – #StevePotts Voice, Cello – #IrèneAebi https://www.instagram.com/p/By3RSKKJGbi/?igshid=1l3pd6oos35vw

[budaallmusic]

Steve Potts ‎– Musique Pour Le Film D'Un Ami #UnDeuxTrois ‎1975 🇫🇷 France Accordion – #JossBaselli Acoustic Guitar, Electric Guitar – #EliosFerré Alto Saxophone, Soprano Saxophone – #StevePotts Bongos – #KenoSpeller Composed By – Steve Potts Double Bass – #GusNemeth, #JeanJacquesAvenel (tracks: A2) Drums – #DonnyDonable (tracks: A2), #KennethTyler Electric Guitar – #ChristianEscoudé Mixed By – #JefGilson Photography – #DorgeAmat Piano – #FrankAbel Trumpet – #AmbroseJackson https://www.instagram.com/p/BuepuzgAGkN/?utm_source=ig_tumblr_share&igshid=16u945jl3eu4u

[budaallmusic]

Fabiano Orchestra ‎– Butterfly Island #SuperflyRecords 2013 France reissue of the 1980 #FranckRRecords OG. Electric Piano – #EricFontes (tracks: A5) Bongos – #GabiMoustache (tracks: A3) Congas – #CharlieLamotte (tracks: A2, A5) Congas, Berimbau, Percussion – #GuilhermeFranco (tracks: A1, B1 to B3) Drums, Gong, Kalimba, Percussion, Producer, Arranged By – J. F. Fabiano #JeanFrançoisFabiano Piano [Acoustic], Percussion, Synthesizer [Poly Phonic Ensemble] – #BruceCarrington (tracks: B2) Soprano Saxophone, Tenor Saxophone – #CarterJefferson (tracks: A1, A5, B1) Timbales, Percussion – #ChambersStowe (tracks: A4, A5) Trumpet – #HannibalMarvinPeterson (tracks: A1, A5, B2) Guitar [Solo] – #BillFrisell Flute – #CliffordJordan (tracks: B3) Gong, Percussion – #SteveMcCall (tracks: B2) Drums – #KennethTyler

[lesliesacksgallery]

#StaffPicks During a recent exhibition of Helen Frankenthaler woodcut prints at the gallery, I frequently overheard viewers suggesting the works were either paintings or watercolor. Though they were mistaken, this was absolutely Frankenthaler's intention--she set out to make a woodcut with "painterly resonance". To achieve this objective, she collaborated with master printer Kenneth Tyler, Ukiyo-e carver Yasuyuki Shibata, and papermaker Tom Straienese using unprecedented methods and processes culminating in the Tales of Genji, 1998. Tyler suggested Frankenthaler paint directly on wood as a study. Shibata cut carvings after these prototype paintings.  Strianese made hundreds of paper samples to replicate the pattern and tone of the different wood grains. A special press was used in which the inks could bleed into a painterly effect. They worked on the series for three years and the outcome of this tremendous effort was six stunning, pioneering woodcuts that mirrored the entire process. The colors, compositions and wood-grain meld into one another in a harmonious balance. The process may have been arduous, but the results resonate as effortless and elegant. – Sang Lee, Special Projects, @worstepever -- Artwork info: Helen Frankenthaler, Tales of Genji II, 1998, ukiyo-e woodcut 47 x 42 inches, edition of 35, signed and numbered -- #Frankenthaler #HelenFrankenthaler #woodcut #ukiyoe #kentyler #kennethtyler #talesofgenji #genji #harmony #collaboration #papermaking #handmade #groupeffort #effortandease #painterly #painting #bornatonce #watercolor #series #intention (at Leslie Sacks Gallery)