Prints + Multiples 
26 February 2020
Dennis Kardon, Mirror and La Beigia (two works) - Image 1 of 1
Prints + Multiples 
Dennis Kardon, Mirror and La Beigia (two works) - Image 1 of 1
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Dennis Kardon b.1950

Mirror and La Beigia (two works)

1991 28 h × 24 w × 2¾ d in (71 × 61 × 7 cm)
estimate: $1,200–1,800
result: $750
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Mirror: Silver-backed beveled mirror, carved wood, red clay, 22K gold leaf and sand with applied figures of gesso, pine rosin, chalk and reinforced plaster corners
La Beigia: Oil on polyester set in a frame of carved wood, red clay, 22K gold leaf sand, with applied figures of gesso, pine rosin, chalk and reinforced plaster corners
Each: 28 h x 24 w x 2.75 d inches.
Incised signature and date to verso ‘DK '91’. These works published by A/D, New York. Mirror fabricated by William Bey, Sterling Prototypes.
provenance: A/D, New York
exhibited: Mirror: Conversations with Rococco Mirrors, 1991, A/D Gallery, New York | American Art Today: Surface Tension, 10 January - 14 February 1992, Frost Art Museum, Miami | X6: New Directions in Multiples, 26 January - 3 May 1992, The Aldrich Contemporary Art Museum (traveled to Dayton Art Institute, 21 June 1992 - 30 July 1992) | Objects by Artists, 3 June - 31 July 1993, The Greenberg Gallery, St. Louis
La Beigia: X6: New Directions in Multiples, 26 January - 3 May 1992 , The Aldrich Contemporary Art Museum (traveled to Dayton Art Institute, 21 June 1992 - 30 July 1992) | Objects by Artists, 3 June - 31 July 1993, The Greenberg Gallery, St. Louis
literature: Mirror: Elisabeth Cunnick and Peter Joseph, A/D at the Peter Joseph Gallery New York, (catalogue for the exhibition September 17 - October 24), 1992 (illustrated, page 27)

print

Influential Edition

From the A/D Archive

A/D (Artist Designer), a strong and unique voice in the 1980s and 1990s, commissioned visual artists to create functional objects that were meant to be lived with and used. The idea was that visual artists would bring different solutions to design problems, and would challenge material limits in ways that designers and architects normally would not. The success of the gallery and all that they published was a result of this challenge, and of the standards that they were willing to commit to projects. The roster of artists published by A/D is impressive, from Sol LeWitt and Chuck Close, to Jennifer Bartlett and Arlene Shechet. Further, A/D worked with the best possible fabricators who often worked closely with the artists to realize their vision and create works in small editions.

While many of the A/D editions were successful in their time, a number of the editions were never completed. Since A/D closed some 20 years ago, no other publisher has pursued this path in the same way. A/D remains a very special marker of its decade, and their editions represent an important impulse that is still influential. 

The present work is an example that A/D retained for its own archives.

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