Dahlia’s (For The Pink Moon), I-XI

$ 5,452

Weight1 kg
Edition size :

A series of 11 unique monotypes.

Dimensions :

Approx: 22 in. x 21.62 in. (55.88 cm x 54.92 cm)

Paper :

Somerset satin, white 300 gsm.

Technique :

Monotype

Signature :

Signed, dated and titled by the artist.

CO - EDITION :

with KARMA.

Year :

2024

Shipping :

Preorder now, shipping in early November.

Collection :

Monotypes

Price :

No prices available for the moment

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SKU: AC-005-DAH-PRE Category:
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This unique series of 11 monotypes entitled Dahlia’s (For the Pink Moon) capture moments rooted in the artist’s memories, personal experiences, and inspirations. Whenever Craven paints flowers they are depicted in one of her mother’s crystal vases and in these series of prints the vase sits on top of a stool with a background of the moon rising, an ever-present symbol in the artist’s lexicon.

The flowers represent an ongoing conversation with her mother and is a way of bringing her along on the journey of the artist’s life. In these works, the artist also reflects on the artist Marsden Hartley who painted flowers in vases often with a background of curtains and the sea, both personal symbols for Hartley as the moon and vases are for Craven.

Weight1 kg
Edition size :

A series of 11 unique monotypes.

Dimensions :

Approx: 22 in. x 21.62 in. (55.88 cm x 54.92 cm)

Paper :

Somerset satin, white 300 gsm.

Technique :

Monotype

Signature :

Signed, dated and titled by the artist.

CO - EDITION :

with KARMA.

Year :

2024

Shipping :

Preorder now, shipping in early November.

Collection :

Monotypes

Price :

No prices available for the moment

PRINT PDF

Ann Craven

Ann Craven (b. 1967, Boston) makes self-reflexive paintings that comment on devotion, loss, and the immortalizing nature of her medium. Primarily using unabashedly high-key colors, she paints and repaints her key subjects—animals and flowers often modeled after those found in vintage books, postcards and the internet  — and the moon as observed by the artist en plein air.

Craven’s emotional conceptualism inheres in these affectively charged repetitions, each of which is accompanied by an indexical canvas Palette used for the respective work’s color mixing and archived by the artist, like her Stripes, for her future reference. Like On Kawara, her oeuvre is a catalog of time passed; like Agnes Martin, evidence of her hand is the true content of her work. With each rearticulation, Craven reasserts her brushstroke as a bulwark against the degradation of memory. Craven lives in New York City.

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Learn more about Ann Craven >

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