Peter Halley, ‘Core; Display; and Fluke’, 1991, Print, The complete set of three screenprints with lithograph in colours, on Coventry rag paper, with full margins., Phillips
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Peter Halley

Core; Display; and Fluke, 1991

The complete set of three screenprints with lithograph in colours, on Coventry rag paper, with full margins.
Bidding closed
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P
Phillips

all I. 61 x 86.2 cm (24 x 33 7/8 in.)
all S. 66.5 x 96.8 cm (26 1/8 x 38 1/8 in.)

Medium
Signature
All signed and numbered 'AP XI' in pencil (one of 12 artist's proof sets aside from the edition of 50), co-published by Edition Schellmann, …
Peter Halley
American, b. 1953
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Having emerged in New York’s East Village Art scene in the early 1980s, Peter Halley is best known for his brightly colored, geometric paintings made of Roll-a-Tex, a textured paint used for decoration, as well as florescent Day-Glo paints. Developing his own visual lexicon, Halley engages in a play of relationships between what he calls “prisons” and “cells”—composed of rectangular shapes and vertical bars—evocative of geometric networks from the urban grid to high-rise apartment buildings to electromagnetic conduits. While his rigid planes of color, unitary shapes, and non-hierarchical compositions nod toward Minimalism, by transforming the Minimalist square into a prison cell, Halley’s works call the supposed neutrality of such art into question.

Peter Halley, ‘Core; Display; and Fluke’, 1991, Print, The complete set of three screenprints with lithograph in colours, on Coventry rag paper, with full margins., Phillips
Save
Save
Share
Share
P
Phillips

all I. 61 x 86.2 cm (24 x 33 7/8 in.)
all S. 66.5 x 96.8 cm (26 1/8 x 38 1/8 in.)

Medium
Signature
All signed and numbered 'AP XI' in pencil (one of 12 artist's proof sets aside from the edition of 50), co-published by Edition Schellmann, …
Peter Halley
American, b. 1953
Follow

Having emerged in New York’s East Village Art scene in the early 1980s, Peter Halley is best known for his brightly colored, geometric paintings made of Roll-a-Tex, a textured paint used for decoration, as well as florescent Day-Glo paints. Developing his own visual lexicon, Halley engages in a play of relationships between what he calls “prisons” and “cells”—composed of rectangular shapes and vertical bars—evocative of geometric networks from the urban grid to high-rise apartment buildings to electromagnetic conduits. While his rigid planes of color, unitary shapes, and non-hierarchical compositions nod toward Minimalism, by transforming the Minimalist square into a prison cell, Halley’s works call the supposed neutrality of such art into question.

Peter Halley

Core; Display; and Fluke, 1991

The complete set of three screenprints with lithograph in colours, on Coventry rag paper, with full margins.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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