#tylergraphics

[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)

[pamelahandbags]

TylerGraphic Studio, Manhattan NY Heavy Belgium linen. 16.5" x 15" Tote $120 https://www.instagram.com/p/B-Ndam7Htwu/?igshid=1hqwtcgmpnuy0

[nyarchitect]

View this post on Instagram

A post shared by Jonathan Foster (@fosterarchitecture)

At the #frankstella retro #whitneymuseum. Very strong for such an experimental artist. This #print is a most amazing and beautiful piece. #nottomiss #art #artist #now #tylergraphics #tyler 3 pieces of #japanese paper (at Whitney Museum of American Art)

[pamelahandbags]

Fabric by TylerGraphic Studio Manhattan NY,hand pressed design on Belgium linen. https://www.instagram.com/p/B95JOsnJAD6/?igshid=f26dpirqglmb

[pamelahandbags]

TYLERGRAPHIC Studio, Manhattan, NY. Fabric handprinted on Belgium linen. https://www.instagram.com/p/B94XHA_nMHV/?igshid=18e62ptcpft30

[lesliesacksgallery]

#FridayFeature | Robert Motherwell, America - La France Variations IX, 1984 — In his next major project at [Tyler Graphics], the America - La France Variations, 1984, Motherwell returned to his interest in combining collage and printmaking, something he and Tyler had begun to develop during the making of the Summer Light Series. As he had done at Gemini, Motherwell created an extensive series of working collages for the America - La France Variations, which became primary templates for the finished prints. — These collages happened almost by accident...the artist experimented with the idea of including a torn wrapper from a package of French Arjomari-Prioux paper that he had found in the Tyler studio. This act transformed the print, and, interested in the new direction, Motherwell completed the composition with additional colors and gestures. Tyler then made several proofs off this collage, and as Motherwell began to rework the printed version many variations were born. — Each of the prints in the America - La France Variations evolved in this way, through extensive proofing, cutting apart, drawing, recollaging, and more proofing. Having several impressions at hand while he reworked them allowed Motherwell to experiment with a range of compositional strategies, all the while keeping a record of the final image's evolution. Because each collage became source material for the next version, the prints in the series have at times been described by Tyler as editioned monotypes. — Above all, the prints show Motherwell working a completely new manner, with a deep appreciation of the proofing process as an important means for solving artistic problems (he sometimes referred to trial and work proofs as "traces of struggle") and for developing creative ideas. — Text source: Siri Engberg, Robert Motherwell: The Complete Prints 1940-1991, Catalogue Raisonné, Walker Art Center, Minneapolis, Hudson Hills Press, New York, 2003, page 28 — Artwork info: Robert Motherwell, America - La France Variations IX, 1984, lithograph and collage, 28 1/2 x 21 3/4 inches, Edition of 60 #robertmotherwell #motherwell #tylergraphics #arthistory (at Leslie Sacks Gallery)