Mañana, 2012

In October of 2011, Tony Feher created a series of "abstract paintings" for an exhibition at the Museo de los Pintores Oaxaquenos, Oaxaca, Mexico. Using torn pieces of blue painters tape applied directly to large glass windows, Feher employs geometric and starburst patterns that call to mind antique mosaics and criss-crossed brushstrokes. The gradation of light filtering through the windows over the course of the day infuses the space with an ever-changing ethereal blue glow. In an attempt to fix an aspect of the work usually reserved for the site-specific viewer, the artist has selected three of his photographic detail images to be rendered as a series of prints. These archival works are released in honor of the monograph Tony Feher published by Gregory Miller & Co. and the touring 20-year survey exhibition of the same name, organized by Claudia Schmuckli, Director and Chief Curator of the Blaffer Museum, University of Houston.

Tony Feher came to prominence in the 1990s, inspired by the generation of minimalists that preceded him. Using materials in new ways, Feher turned his attention to the sculptural qualities of the everyday. Taking advantage of the generally overlooked and discarded, he highlights their formal qualities while simultaneously imbuing them with personal meaning. His careful consideration transforms and re-contextualizes these items into unique works of art. The artist's embrace of fragility, transience, and emotion, along with his preference for non-precious, commonly available materials and found objects, has been highly influential with a younger generation of artists who have similarly decided to become archivists of their own lives and personal journeys. Concurrent to his studio work, Feher also engages site-determined, architecturally-based installations that are often of large scale.

His recent commissions include the Ulrich Museum of Art, Wichita, KS, a public artwork for the Federal Courthouse in Rockford, Illinois, and The Hudson (Show) Room at Artpace in San Antonio. A twenty-year survey of his work has been organized by the Blaffer Art Museum, Houston. Opening first at the Des Moines Art Center in the Spring of 2012, the exhibition moved to Houston in October of 2012 and subsequently to the deCordova Sculpture Park and Museum, Lincoln, MA, terminating at the Bronx Museum of the Arts in the fall of 2013.

All our frames are manufactured in the USA, using eco-friendly and sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40" please contact an Artspace advisor for a custom quote.

Our art editions ship in 7 to 10 business days from New York.

Our framed art editions ship in 11 to 14 business days from New York.

This work is eligible for return within 30 days of receipt of delivery.

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