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Art Wise Rare Posters

Art Wise Rare Posters

Brooklyn - United States

Designer Series – Picking Up On Natural Environment

Brooklyn From 1 July to 7 July 2019

Beyond all the elaborate ideas that may spring to mind when designing a space, finding a way to work with the elements already in place is an essential key— and yet can also be a source of inspiration. Taking a look at the existing colors, visible vignettes of nature, construction features and personality can all serve to inform the decor choices made moving forward, and working to compliment what is set in stone, so to speak, can have a great impact on the continuity and ultimate sense of harmony achieved.

If the natural surrounding environment is cool and calm and, as with perhaps a vacation rental, maintaining an air of nighttime romance is desired, using blues and greens and themes of the moon can work wonders. Wendy Chazin’s Interior, Still Life is a signed 1975 stone lithograph that promotes a homey feeling of peacefulness. Jim Buckels’s Bel Air Blues and Gerard Razzia’s Clandestine are dramatic and chic signed silkscreens that both lend dreaminess, austerity and mystery.

The windows allow for plants and landscape to come into the interior, which in turn become the first characters to dictate the mood. Choosing artwork that keeps up a conversation with the local flora residents can be an excellent vehicle to encourage the positive flow that they have created. P.S. Gordon’s Untitled has the right colors and themes, and Robert Zakanitch’s Avery Fisher Hall would easily blanket any wall with complimentary movement. And Bill Komoski’s Community Holiday Festival seems an easy pairing with what could be dancing sunlight dappling through leaves of trees or chandelier prisms.

If the space has interesting modern architectural details or design features, then playing off those angles and shapes can bring an affirming gesture, reinforcing the existing tone. Marko Spalatin’s Untitled looks already like mid-century modern geometry, and Mel Bochner’s Twenty-Five Years begs to be placed near a see-through open staircase. A vertically enlightened loft-style space could require an equally as visionary piece of artwork, as is the case with one like Budget Enterprise by Olga Koumoundouros. And Notre Dame, Montreal by Roger Cartier could pick up on both classic renaissance moulding and a spirit of romantic tradition.

To accentuate an ambiance of warmth and sunset glamour, choosing pieces with warm colors and summery themes fits the bill. Roland Ricardson’s Interior View holds all the perfect undertones and Rolf Rafflewski’s Hotel de Ville is reminiscent of twenties nostalgia of travel and fine weather bliss. Even if the weather is always changing, Howard Hodgkin’s The Sky's The Limit offers an abstract sunset that fosters a mood of cocktails by the sea no matter what time of year, and the desired warmth can make its home within yours.

And if waltzing with floor or wall tiles, textures or patterns strikes a fancy, then selecting art that employs those details can be a winning pairing. Tin Roof (2nd State) by James Rosenquist would make a thrilling companion to old fashioned malt shop tiling, and Katherine Porter’s Untitled (Newport Jazz Festival) would converse readily with exposed brick walls, whether inside or outside.

Terry Winters’s Location Plan 2000 indulges an affinity toward all of what makes eye candy of natural wood and marble patterning. And to pick up on the textures found in stone finishes or perhaps rocky garden or exterior settings that may already be in play, works like Jennifer Bartlett’s House, Dots, Hatches or Olin Stephens’s Dorade: Sail Plan, 1936 could provide illuminated insight.
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  • 135 Plymouth Street
    11201, Brooklyn
    Suite 412
    United States

Wendy Chazin, Interior, Still LIfe, Print

Wendy Chazin

Interior, Still LIfe, 1975
31 x 29 inch


Mel Bochner, Twenty-Five Years, Print

Mel Bochner

Twenty-Five Years, 1984
45 x 35 inch


Dwight Baird, Private Beach, Drawing

Dwight Baird

Private Beach, 1990
16 x 20 inch


Harold Altman, Child IV, Print

Harold Altman

Child IV, 1965
6.25 x 9.75 inch

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