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Peter Halley

Elsewhere, 1992

Screenprint in colours with blue grid imprint, on Arches paper, with full margins.
40 × 55 1/2 in
101.5 × 140.9 cm
Bidding closed
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About the work
Bibliography
P
Phillips

I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.)
S. 101.5 x 140.9 cm (39 7/8 x 55 1/2 in.)

I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.)
S. 101.5 x 140.9 cm (39 7/8 x 55 1/2 in.)

Signature
Signed, dated and annotated 'B.A.T.' in pencil (the bon à tirer or 'good-to-print' proof before the edition of 50 and 11 artist's proofs), … Read more
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.

Save
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view
View in room
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Save
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view
View in room
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About the work
Bibliography
P
Phillips

I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.)
S. 101.5 x 140.9 cm (39 7/8 x 55 1/2 in.)

I. 81.7 x 121.9 cm (32 1/8 x 47 7/8 in.)
S. 101.5 x 140.9 cm (39 7/8 x 55 1/2 in.)

Signature
Signed, dated and annotated 'B.A.T.' in pencil (the bon à tirer or 'good-to-print' proof before the edition of 50 and 11 artist's proofs), … Read more
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

Elsewhere, 1992

Screenprint in colours with blue grid imprint, on Arches paper, with full margins.
40 × 55 1/2 in
101.5 × 140.9 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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