A QUICK SUMMARY

In the early 1970s I worked with photography, silkscreen, watercolor and cut paper, and with limited-edition hand printing . The Emergence Series, (right)

This led to works utilizing grid and brush-stroke structure, in  individual pieces as well as in other limited editions. Mantiq Altair: The Conference of the Birds: Hoopoe (right).
I participated in shows at 55 Mercer Gallery,  Getler-Pall
Gallery on 57th Street, Brooke Alexander Gallery, and
The Drawing Center, among others.

 

I created the performance pieces Source (1974), and
Place (1978), both at Millennium on East 4th Street, and worked into the 80s with Ping Chong as media designer.

 

By the 80s I expanded the grid work to drawings and to
flat prints:
(right, in succession)  The Baker Makes Good His Escape, Robert LeVer Seeks Entrance to the Great Lady’s Nation, The Governor’s Hunt For His Wife’s Presence, and to collages, large cut paper pattern works, and some sculpture. Produced at Chip Elwell Studio. After my father's death (and Chip's), I found producing prints difficult. Some of these prints have found their way into museum collections.

 

In 1984, I created a performance work, The Life and Times of Magenta Lil, for ‘The Monument Redefined’ show in Brooklyn. I had a one-man show of my watercolors, collages and mixed media, including Stephen's Door (right) in Pittsburgh in 1989, and collages at Artists Space in NYC in 1992.

 

By the 90s, after completing a sculpture in memory of Robert Mapplethorpe, Urn For Robert Mapplethorpe (right), I shifted focus and began to study the digital methods and implications for producing art, while continuing to work traditionally.

 

Between 1997 and 2007, I produced an annual variable-edition hand-printed series called Solstice Greetings (right), sent to individuals around the world.
 

 


By early 2000s, I began exploring collages designed for glicee prints. Pine Hill I, Pine Hill II (right)

 

In 2004, I began a number series, initially called, and containing, Multiples of Ten. That series now comprises graphic variations for every number from One to 100, and, so far, they've had some successful presentations and are being collected.
 

I am also working on a series of works using naturally grown materials. These projects are ongoing.
 

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Stephen's Door
Stephen's Door

Watercolor on Arches paper, painted verso and recto and blank areas cut. The drawing was suspended between two sheets of glass in a solid maple door.

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ALL IMAGES © 2018 BY TONY JANNETTI. 
ALL RIGHTS RESERVED.