Triangle Alumni Print Portfolio
Purchase now to benefit Triangle’s artist residencies and public programs
Triangle is pleased to announce this special portfolio of 6 prints by illustrious alumni of our residency and Workshop programs:
Hamra Abbas
Frances Barth
Ingrid Calame
Jitish Kallat
Larry Poons
This special portfolio of six unique prints, sold as a set, is produced exclusively for Triangle, in consortium with Benefit Print Project, in a small limited edition of 30. Each of the six prints is signed by the individual artist. This portfolio was featured in a conversation with curator and critic Karen Wilkin, and artists and critics Christina Kee and David Humphrey. Links to video of the discussion, and an event brochure, are below, along with more information on each work and artist.
Each set of prints is 11 x 13 inches, printed with HDX Ultrachrome inks on Moab Entrada Rag Natural 300 grams, and is presented in a handsome presentation folio. Priced at $3,150, includes packaging, shipping, and delivery.
PURCHASE
To purchase contact diana@triangleartsnyc.org.
Hamra Abbas, Every Color is a Shade of Black, 2020.
Hamra Abbas, Kaaba Picture as a Misprint, 2014.
Hamra Abbas (residency 2010)
Hamra Abbas (b. 1976, Kuwait) lives and works in Boston and Lahore. Her works originate from encounters and experiences – an image, icon or gesture – that are manipulated by the artist transforming its scale, function or medium. About this work, she writes, “Every Color is a Shade of Black connects various bodies of my work with the central theme of color: color as faith and ideology, color as race and identity, color as desire and beauty, color as gender and sexuality.” She has participated in the inaugural Asia Society Triennial, New York; 2nd Karachi Biennale; 2nd Kochi-Muziris Biennale; 9th Sharjah Biennial; 15th Biennale of Sydney. Abbas has taken part in group shows at NTU Centre for Contemporary Art Singapore; Royal Ontario Museum, Toronto; MAXXI, Rome; Singapore Art Museum; Victoria & Albert Museum, London, among others. Her work is part of significant international collections, including the British Museum, London; Pacific Asia Museum, Pasadena; Burger Collection, Hong Kong; Koç Foundation, Istanbul, and many others.
Frances Barth (triangle workshop 1991)
Frances Barth, TR_03, 2020.
Frances Barth (b. 1946, Bronx, New York) has exhibited her paintings widely in both solo and group exhibitions since the late 1960s, and her work is represented in numerous public, corporate and private collections, including The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum, in NYC, The Dallas Museum of Art, TX, The Albright Knox Museum, Buffalo. Her awards include The National Endowment for the Arts grants, a Guggenheim Fellowship in 1977, the Joan Mitchell Foundation grant, two American Academy of Arts and Letters Purchase awards, and the Pollock-Krasner Foundation grant. Barth says, “The Triangle residency was unlike anything I had experienced before. There was no grandstanding and the sincerity and willingness to share ideas was generous and impressive. Triangle was unique in that it was formed and run by artists giving back to other artists. The intense interaction from artists coming from all over the world is so special. About this work, she says, “This is a fictive landscape that brings together architecture, atmosphere, and objects as characters.”
Ingrid Calame, From #1079 Drawing; pigment fragment of Idania Alvarez Ortega, Matanzas, Cuba, 4/9/19. 2021
Ingrid Calame (Triangle Workshop 2000)
Ingrid Calame (b. 1965) is an American artist based in Los Angeles, known for her abstract, map-like paintings inspired by human detritus. Her works are in the permanent collections of museums worldwide including the Los Angeles Museum of Contemporary Art, the Whitney Museum of American Art in New York City, and the Kunstmuseum St. Gallen, Switzerland, as well as many private collections. Calame was included in the 2000 Whitney Biennial. Driven by her desire to “know the world,” Ingrid Calame has been tracing the marks on its surface, turning them into intricately patterned paintings, drawings, prints, and murals, for nearly 20 years. As she explains: “the idea was that the whole surface of the world is a potential drawing. I can’t trace the whole world, so I’m tracing a fragment. I’m interested in how impossible it is for us to represent something as huge as the world.”
Jitish Kallat (triangle Workshop 2002)
Jitish Kallat, Untitled (Emergence) Drawing, 2019.
Jitish Kallat (b. 1974) is an Indian contemporary artist who lives and works in Mumbai, India. Kallat’s works over the last two decades reveal his continued engagement with the ideas of time, sustenance, recursion, and historical recall. Jitish Kallat has exhibited widely at museums and institutions including Tate Modern (London), Martin-Gropius-Bau (Berlin), Gallery of Modern Art (Brisbane), Kunstmuseum (Bern), Serpentine Galleries (London), Mori Art Museum (Tokyo), BOZAR: Centre For Fine Arts (Brussels), Pirelli HangarBicocca (Milan), Norrtalje Konsthall (Sweden), Busan Museum of Art, among many others. Of this work and his time at Triangle, he writes, “I return to a few studio rituals which are often drawing projects that evolve under systems of self-imposed artistic constraints. In Untitled (Emergence) drawings, interactions produced by a spurt of air evoke a natural geometry inherent in life-forces, in the growth of plants, our thumb-print, the spin in the oceans and galaxies. I reflect fondly on my time at the Triangle Workshop in New York two decades ago. It incubated friendships that have lasted decades... the Triangle artist network has been a catalyst for so much creative exchange amongst artists the world over.”
Larry Poons, Paw Up, 2003.
Larry Poons (triangle Workshop 1983)
Beginning with his seminal paintings of dots and ellipses nearly six decades ago, Larry Poons (b. 1937, Tokyo, Japan) has remained at the forefront of the development of painting with uniquely innovative works of art. An alumnus of Triangle himself, Poons is one of many illustrious world figures with whom we have worked since we were founded in 1982. At first associated with geometric imagery, in 1966 Poons returned to the essence of painting—tactile pigment itself. His works have been acquired by many institutions, including the Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Metropolitan Museum of Art, New York; Musée d’Art Moderne et d’Art Contemporain, Nice; Museum of Modern Art, New York; Museum of Modern Art, Ludwig Foundation, Vienna; Stedelijk Museum Amsterdam; Tate Gallery, London; and many others.