Martin Puryear "Navy Pier" Mile of Sculpture 1984 CHICAGO INTERNATIONAL ART EXPO

Martin Puryear

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Location: Fort Worth, Texas
Ships to: US,
Item: 167027894892

Restocking Fee:No
Return shipping will be paid by:Seller
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Artist:Martin Puryear
Unit of Sale:Limited edition poster
Size:Medium (up to 36in.)
Date of Creation:1984
Region of Origin:Chicago
Personalize:No
Listed By:Dealer or Reseller
Year of Production:1984
Width (Inches):26
Item Height:34.50 in
Style:Abstract,Minimalism,Formalist
Features:Unframed
Featured Person/Artist:Martin Puryear
Item Width:26 in
Signed:No
Color:Light green
Material:Paper
Certificate of Authenticity (COA):Yes
Original/Licensed Reprint:Original
Subject:Navy,Navy Pier,Sculpture
Type:Limited Edition Poster
COA Issued By:Lakeside Studio
Height (Inches):34.50
Theme:Navy Pier,Architecture,Art
Country/Region of Manufacture:United States

Martin Puryear (Amer. b.1941) created this four color limited edition poster for the 1984 Chicago Sculpture International Mile 3 at Navy Pier. Titled: “Navy Pier” Dimensions: 36.50″ X 26″ Printed on thick stock archival paper by Black Box Collotype Continuous Tone Printers, Chicago. Limited edition of 1,500. POSTER IS IN EXCELLENT CONDITION SHIPPING $10 US $20 EU POSTER SHIPS IN 4″ STURDY TUBEReturn for full refund if not completely satisfied. The artwork of Martin Puryear is a product of visibly complex craft construction and manipulation of pure material; its forms are combinations of the organic and the geometric. His process can be described as reductive, seeking to bring work and material close to its original state and creating rationality in each work derived from the maker and act of making. This is what Puryear calls ″inevitability,″ or a ″fullness of being within limits″ that defines function.Often associated with both Minimalism and Formalist sculpture, Puryear rejects that his work is ever non-referential or objective. The pure and direct imagistic forms born from his use of traditional craft are allusive and poetic, as well as deeply personal. Visually, they encounter the history of objects and the history of their making, suggesting public and private narratives including those of the artist, race, ritual, and identity.About the Continuous Tone Printing Process:Screenless lithography, by eliminating the use of halftone screens and halftone dots achieves extraordinary fidelity, fullness of tone, color and detail, impressive color saturation and clear line resolution. Museums, fine artists and publishers with exacting standards use this remarkable process to re-create their finest works of art. Continuous tone lithography (as in a photograph with no dots) evolved from collotype printing. When Black Box Collotype ultimately closed its doors in 2004, it was one of just a few printers left in the world that had mastered the collotype process. While it was a highly desirable reproduction process for the fine art world, it was a laborious, time consuming (read “expensive”) process. Since there was no screen involved, a collotype print could be 27 colors without fear of a moiré. But in the old days, on Black Box’s one-unit press, those 27 colors had to be laid down one color at a time. So the most complex jobs could take months to complete.Offset lithography is far faster and less expensive than collotype. Suddenly, four colors and halftone dot patterns were “good enough” because they were so economical. Black Box Collotype was one of the last printing houses in America, if not the world that used the collotype-continuous tone process

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