My Favourite Colour Is Rainbow 1
My Favourite Colour Is Rainbow Private View: Tuesday 20th February 6 – 8pm Exhibition: 21st February – 23rd March 2018
Lyndsey Ingram 20 Bourdon Street London W1K 3PL � � T. +44 (0)20 7629 8849 E. info@lyndseyingram.com W. lyndseyingram.com
Foreword
My Favourite Colour is Rainbow is a group show of graphic work by contemporary artists exploring the colour spectrum. The exhibition presents artists including Polly Apfelbaum, Damien Hirst, Peter Doig, Anish Kapoor, Ian Davenport, Olaf Nicolai, John Giorno and Mel Bochner. This exhibition looks at the technicolour side of prints, which are often monochromatic. Presenting artists who are making work with a full range of colours and techniques, it explores the complexity and creative possibilities of printmaking. It is exciting to bring together so many art works where vibrant colour is the defining aspect. Each of these works shows how colour can be combined with different processes from screenprinting, to woodblock, to intaglio. Artists are manipulating different techniques to achieve sophisticated, dynamic results. Colour printmaking often requires a complex layering of processes and special, handmade elements. For example, Polly Apfelbaum’s Mosaic Mile I is a unique woodblock on a large scale that presents all the colours of the rainbow. The artist incorporates her performative installation practice into her printmaking, improvising one-off compositions from myriad woodblocks that she has hand carved, individually inked and placed. Reflecting influences of Pop and Minimalist art, Apfelbaum uses geometric and organic shapes to create abstract patterns in a saturated spectrum of exuberant colour. Damien Hirst’s ‘Tetrahydrocannabinol’ spot etching, where the pigment is applied by hand to the plate, is made up of Pantone colours that never repeat. This large-scale work is the artist’s first and most ambitious colour aquatint. This exhibition focuses on the complexity of colour printmaking and its many creative possibilities. For example, in his series of Shadow prints, Anish Kapoor sought to
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combine the two key elements of his sculpture – the pigment and the void. The subtle gradations of colour, disorientate our perception and create ambivalence between depth and surface. The artist sees his Shadow prints as a contemporary and colour-infused interpretation of chiaroscuro and specifically worked in print because such an effect could not be achieved in any other way. My Favourite Colour is Rainbow investigates the technical challenges of creating colour in graphic art and aims to remind people that printmaking can be colourful, playful and experimental.
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Peter Doig Country Rock Etching and aquatint printed in colour, 2000 – 2001. Signed in pencil and numbered from the edition of 46. Printed on 350g Hahnemuehle paper. Published by the Paragon Press, London. 93.5 × 121.5 cm 6
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Polly Apfelbaum Dogwood 1 Woodblock monoprint in colours, 2009. Printed on Hiromi Handmade DHM-11 Triple Thick paper by Durham Press, Pennsylvania. Published by Durham Press. 30.5 × 30.5 cm
Polly Apfelbaum Dogwood 4 Woodblock monoprint in colours, 2009. Printed on Hiromi Handmade DHM-11 Triple Thick paper by Durham Press, Pennsylvania. Published by Durham Press. 30.5 × 30.5 cm
Copyright of Durham Press and the artist. Image courtesy of Durham Press.
Copyright of Durham Press and the artist. Image courtesy of Durham Press.
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Polly Apfelbaum Mosaic Mile I Woodblock monoprint in colours, 2014. Printed on Hiromi Handmade DHM-11 Triple Thick paper by Durham Press, Pennsylvania. Published by Durham Press. 93.9 × 177.8 cm Copyright of Durham Press and the artist. Image courtesy of Durham Press.
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Polly Apfelbaum Love Alley 4 Woodblock printed in colours, 2012. Edition of 25. Printed on Hiromi Handmade DHM-11 Triple Thick paper by Durham Press, Pennsylvania. Published by Durham Press. 81.3 × 172.7 cm Copyright of Durham Press and the artist. Image courtesy of Durham Press.
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David Shrigley Be Nice Screenprint in colours, 2017. Signed in pencil and numbered from the edition of 125. Printed on Somerset Tub Sized 410gsm paper by K2 Screen, London. Published by Counter Editions, London. 76 Ă— 56 cm 14
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Mel Bochner Amazing Monoprint with engraving and embossment, 2017. Signed in pencil. Printed on Twinrocker handmade paper by Two Palms, New York. Published by Two Palms. 74.9 Ă— 55.9 cm 16
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Mel Bochner All or Nothing Monoprint with engraving and embossment, 2017. Signed in pencil. Printed on Twinrocker handmade paper by Two Palms, New York. Published by Two Palms. 76.2 Ă— 63.5 cm 18
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Ian Davenport Colourcade Buzz: Triple Repeat Yellow Ghost Unique etching, 2017. Printed on Hahnemuhle Bright White 350gsm paper by Thumbprint Editions, London. Published by Alan Cristea Gallery, London. 115 × 165.8 cm 20
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Stanley Whitney Untitled Monotype on handmade paper, 2017. Signed in pencil. Published by Two Palms Press, New York. 121.3 Ă— 182.9 cm 22
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Anish Kapoor Shadow IV The set of 10 etchings printed in colours, 2011. Each signed in pencil and numbered from the edition of 39, verso. Published by The Paragon Press, London. Each sheet: 72.4 Ă— 96.4 cm Available individually 24
(Burgundy Red)
(Light Blue) 25
(Dark Blue)
(Orange) 26
(Brown)
(Light Green) 27
(Dark Green)
(Dark Purple) 28
(Yellow)
(Fuschia Red) 29
Damien Hirst Tetrahydrocannabinol Etching and aquatint printed in colours, 2004. Signed in pencil and numbered from the edition of 115. Printed on 350 gsm Hahnemuehle paper. 111.2 Ă— 200.6 cm 30
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Damien Hirst Methyl Phenylsulfoxide Woodcut printed in colours, 2010. From ‘12 Woodcut Spots’ Signed in pencil and numbered from the edition of 48 verso. Published by Paragon | Contemporary Editions Ltd., London. 104.2 × 162.5 cm 32
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John Giorno Poem Prints Archival pigment print in colours, 2017. Signed in pencil and numbered from the edition of 75. Each sheet: 66 Ă— 66 cm Available individually 34
(Prefer Crying In A Limo To Laughing On A Bus)
(You Got To Burn To Shine) 35
(Life Is A Killer)
(We Gave A Party For The Gods And The Gods All Came) 36
(I Want To Cum In Your Heart)
(The World Just Makes Me Laugh) 37
“I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format…” – Damien Hirst