Peter Halley, ‘Panic Room’, 2003, Print, Silkscreen on paper, Center for Maine Contemporary Art (CMCA) Benefit Auction
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Peter Halley

Panic Room, 2003

Silkscreen on paper
38 × 24 1/4 in
96.5 × 61.6 cm
Edition of 250 + 25AP
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Center for Maine Contemporary Art (CMCA) Benefit Auction

11 AP, Printed by Alexander Heinrici, New York

Ships from New York City

Medium
Signature
Signed and numbered on verso
Publisher
Manpower, Inc., Wisconsin, USA
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.

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Peter Halley, ‘Panic Room’, 2003, Print, Silkscreen on paper, Center for Maine Contemporary Art (CMCA) Benefit Auction
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Save
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View
View in room
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Center for Maine Contemporary Art (CMCA) Benefit Auction

11 AP, Printed by Alexander Heinrici, New York

Ships from New York City

Medium
Signature
Signed and numbered on verso
Publisher
Manpower, Inc., Wisconsin, USA
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

Panic Room, 2003

Silkscreen on paper
38 × 24 1/4 in
96.5 × 61.6 cm
Edition of 250 + 25AP
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Series by this artist
Other works by Peter Halley
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