Peter Halley, ‘Untitled (6.15.10.1)’, 2010, Drawing, Collage or other Work on Paper, Acrylic and Day-Glo acrylic on digitally printed paper, Visioner
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Peter Halley

Untitled (6.15.10.1), 2010

Acrylic and Day-Glo acrylic on digitally printed paper
21 × 16 in
53.3 × 40.6 cm
.
Contact For Price
Location
New York
Have a question? Visit our help center.
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V
Visioner
New York

This is a typical work by Peter Halley, geometrical, colorful, munimal

Medium
Condition
Excellent condition, no apparent defects
Signature
Hand-signed by artist, Signed and dated lower right
Frame
Included
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.

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Peter Halley, ‘Untitled (6.15.10.1)’, 2010, Drawing, Collage or other Work on Paper, Acrylic and Day-Glo acrylic on digitally printed paper, Visioner
Navigate right
Save
Save
View
View in room
Share
Share
V
Visioner
New York

This is a typical work by Peter Halley, geometrical, colorful, munimal

Medium
Condition
Excellent condition, no apparent defects
Signature
Hand-signed by artist, Signed and dated lower right
Frame
Included
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

Untitled (6.15.10.1), 2010

Acrylic and Day-Glo acrylic on digitally printed paper
21 × 16 in
53.3 × 40.6 cm
.
Contact For Price
Location
New York
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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