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| women orange on grey |
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| yellow petals on orange grey + green targets on pink |
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| pink petals on grey green + grey targets on green |
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| grey petals on green grey + green targets on orange |
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| yellow petals grey targets on metallic blue |
Wednesday, June 27, 2012
Five unique original1960s prints plus links
Monday, June 11, 2012
Peter Gee an influence on Warhol - unique prints for sale
"Watergate" - one-off A1 in green and red, silkscreen portraits of those involved, signed, dated.
"Martin Luther King - Drum major" 2 prints with portrait and verse x 4, black gloss on matt black and silver on black, signed, dated, part of edition of 10 each commissioned by MOMA.
"Target and Daisy Panel" various colour ways, unique, signed and dated.
Study for "Lips" in blue and black, signed and dated.
January 2015
ayeayerobot@yahoo.co.uk
BORN IN LEICESTERSHIRE, ENGLAND, PETER GEE STUDIED DESIGN AND TYPOGRAPHY AT CAMBRIDGE AND LONDON FROM WHENCE HE MOVED TO NEW YORK CITY IN 1962 AND SPENT HIS CAREER WORKING THERE AND FOUNDING "THE APOGEE GALLERY" IN 1968/9.
GEE'S CHIEF CONTRIBUTION TO THE FIELD IS HIS ORIGINAL VISIONARY IDEA OF VIEWING "APPLIED" ART AS A "HIGH" ART FORM AND DEVELOPING THAT IDEA through his fusion of his posters, brochures, announcements with his freely-invented new configurations (see Lawrence Alloway's "The Mass Produced Oasis" 'TMPO' in Arts Magazine December 1969; "LA is credited with coining the term "Pop Art", see "Pop Art" Thames and Hudson 1966 also was curator of The Guggenheim Museum and founding member in the 1950s of The Independent Group at the ICA London).
In the recent Smithsonian Institute Publication "Posters American Style" published in 1998 Gee is credited as follows: "in the 1960s, Gee created some of the decades most characteristic images".
In The New York's Museum of Modern Art definitive catalogue "The Modern American Poster" produced with The museum of modern Art, Kyoto, Japan in 1983 to accompany MOMA"s Japan exhibition of the same name the catalogue had as its front cover a Peter Gee work and the catalogue itself features more works by Peter Gee than by any other individual artist.
Gee taught Colour Theory at Harvard University in the 1960s and is credited with the introduction of the post-Bauhaus colour and basic design theory which influenced the Op Art Movement.
eye catching posters / designs first utilised in New York to replace neon signs during a long-running electricity blackout.
The Bauhaus view that whole man-made environment was an object of design had, prior to Gee, become sidetracked at the Bauhaus by being linked with moralistic ideas of good design. In this period Gee used Da Glo colours in conjunction with two basic forms, namely targets and petal forms to demonstrate his colour theories opting for "an emotional use of colour". In TMPO Alloway observes:
"In Gee's art, however, the quivering vegetal forms of Matisse are turned into forms with a frozen exactness of contour and bestowed with colour as evasive as the iris of the human eye. It is in this fusion of the lyrical and systemic that Gee is exceptional". Alloway observes that "Gui Bousieque has pointed out that the communications industry was established too late for the Bauhaus to be able to cope with it (in a lecture at the American institute of graphic Arts in 1964, printed in Ulm 12-13 march 1965, pp 17-24)
.... This time lag was a benefit to Gee because he took naturally to the changed situation, one in which the formation of signs had replaced the earlier emphasis on designed objects ..... He {Gee} notes: "Total environment - including architecture, parks, road signs, posters, transportation, clothing, furniture - is the art of a technological society and the artist should be the medium".
This possibity of treating " the total environment as a single unit" has implications for Gee's (non-motivational) art, for his silkscreen paintings".
"Martin Luther King - Drum major" 2 prints with portrait and verse x 4, black gloss on matt black and silver on black, signed, dated, part of edition of 10 each commissioned by MOMA.
"Target and Daisy Panel" various colour ways, unique, signed and dated.
Study for "Lips" in blue and black, signed and dated.
January 2015
ayeayerobot@yahoo.co.uk
BORN IN LEICESTERSHIRE, ENGLAND, PETER GEE STUDIED DESIGN AND TYPOGRAPHY AT CAMBRIDGE AND LONDON FROM WHENCE HE MOVED TO NEW YORK CITY IN 1962 AND SPENT HIS CAREER WORKING THERE AND FOUNDING "THE APOGEE GALLERY" IN 1968/9.
GEE'S CHIEF CONTRIBUTION TO THE FIELD IS HIS ORIGINAL VISIONARY IDEA OF VIEWING "APPLIED" ART AS A "HIGH" ART FORM AND DEVELOPING THAT IDEA through his fusion of his posters, brochures, announcements with his freely-invented new configurations (see Lawrence Alloway's "The Mass Produced Oasis" 'TMPO' in Arts Magazine December 1969; "LA is credited with coining the term "Pop Art", see "Pop Art" Thames and Hudson 1966 also was curator of The Guggenheim Museum and founding member in the 1950s of The Independent Group at the ICA London).
In the recent Smithsonian Institute Publication "Posters American Style" published in 1998 Gee is credited as follows: "in the 1960s, Gee created some of the decades most characteristic images".
In The New York's Museum of Modern Art definitive catalogue "The Modern American Poster" produced with The museum of modern Art, Kyoto, Japan in 1983 to accompany MOMA"s Japan exhibition of the same name the catalogue had as its front cover a Peter Gee work and the catalogue itself features more works by Peter Gee than by any other individual artist.
Gee taught Colour Theory at Harvard University in the 1960s and is credited with the introduction of the post-Bauhaus colour and basic design theory which influenced the Op Art Movement.
eye catching posters / designs first utilised in New York to replace neon signs during a long-running electricity blackout.
The Bauhaus view that whole man-made environment was an object of design had, prior to Gee, become sidetracked at the Bauhaus by being linked with moralistic ideas of good design. In this period Gee used Da Glo colours in conjunction with two basic forms, namely targets and petal forms to demonstrate his colour theories opting for "an emotional use of colour". In TMPO Alloway observes:
"In Gee's art, however, the quivering vegetal forms of Matisse are turned into forms with a frozen exactness of contour and bestowed with colour as evasive as the iris of the human eye. It is in this fusion of the lyrical and systemic that Gee is exceptional". Alloway observes that "Gui Bousieque has pointed out that the communications industry was established too late for the Bauhaus to be able to cope with it (in a lecture at the American institute of graphic Arts in 1964, printed in Ulm 12-13 march 1965, pp 17-24)
.... This time lag was a benefit to Gee because he took naturally to the changed situation, one in which the formation of signs had replaced the earlier emphasis on designed objects ..... He {Gee} notes: "Total environment - including architecture, parks, road signs, posters, transportation, clothing, furniture - is the art of a technological society and the artist should be the medium".
This possibity of treating " the total environment as a single unit" has implications for Gee's (non-motivational) art, for his silkscreen paintings".
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| target print |
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