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Marsha Mateyka Gallery
Exhibition Archive

On Paper / In Series

Works by

Mary Frank,  Howard Hodgkin,  Robert Kushner

Robert Motherwell  and  Nathan Oliveira

June 11 - July 26, 2014


Mary Frank

Equestrian and Standing Nude B, 1982
13.5 x 20 inches

Equestrian and Standing Nude C, 1982
13.5 x 20 inches

Howard Hodgkin

Sun, More Indian Views, 1976
lithograph, edition: 16/60
8.5 x 11.5 inches

Shutter, More Indian Views, 1976
lithograph, edition: 16/60
8.5 x 11.5 inches

Palm, More Indian Views, 1976
lithograph, edition: 16/60
8.5 x 11.5 inches

Robert Kushner

Reclining Woman, 1987
monoprint: drypoint with handwork and collage on paper with fiber pattern
edition: #34/36
10.75 x 15 inches

Reclining Man, 1987
monoprint: drypoint on handmade paper
edition: #4/36
11 x 15.5 inches

Robert Motherwell

Hollow Men Suite, 1985
edition: #48/49
11 x 11.75 inches

A suite of seven lift-ground etchings with aquatint, on handmade paper
with Chine-collé.  Printed in the artist's studio by Catherine Mosley.

Hollow Men 1 (Belknap #336)

Hollow Men 2 (Belknap #341)

Hollow Men 3 (Belknap #338)

Hollow Men 4 (Belknap #339)

Hollow Men 5 (Belknap #340)

Hollow Men 6 (Belknap #342)

Hollow Men 7 (Belknap #337)

Nathan Oliveira

Site Castelo Rodrigo #1, 1998
20.25 x 18 inches

Site Oporto II, 1998
17.75 x 22.25 inches


The Washington Post
Sunday, July 13, 2014, E9

"In the Galleries"
by Mark Jenkins

"On Paper, In Series"

As its title suggests, “On Paper, In Series” is a selection of prints.  The centerpiece of the five-artist Marsha Mateyka Gallery show is Robert Motherwell’s “Hollow Men”, a 1985 suite of seven small etchings whose strong black forms rival the power of the artist’s vast canvases. There are also three 1976 “Indian Views” by Howard Hodgkin, notable for their contrast of simple forms and diverse textures.

The other items are all one-of-a-kind monoprints, mixing various media.  Robert Kushner’s 1987 “Reclining Woman” is a drypoint on patterned paper, embellished with metallic leaf. Nathan Oliveira’s two earth-toned 1998 works combine printing and painting as they do landscape and abstraction.  The two examples of Mary Frank’s “Equestrian and Standing Nude” series, from 1982, seem photo-based, yet rarefy their juxtaposed images into silhouettes and blacks of mottled color.  Like the work of the other artists, they demonstrate the potential infinity within tiny variations.

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