Sol LeWitt’s Emblemata Series.

Sol LeWitt (1928-2007) is regarded as a founder of both Minimal and Conceptual art. His prolific two and three-dimensional oeuvre includes wall drawings (over 1200 of which have been executed), hundreds of works on paper, and structures in the form of towers, pyramids, geometric forms, and progressions. He’s also known for his postcard correspondence with famous contemporaries such as Eva Hesse and On Kawara.

For his Emblemata series of monotypes from 2000, LeWitt experimented with yet another medium: the book. Maurizio Londei of the Italian imprint Edizioni Essegi challenged LeWitt and other artistic titans, such as Richard Long and Pier Paolo Calzolari, to “transpose their emblematic essence” into print portfolios. The idea was for the artist to create an “ideal volume” that could serve as a direct conduit between artist and viewer, passing vital knowledge between them. LeWitt responded to this challenge with a series of 15 monotypes bearing his idiosyncratic two-toned palette and iconic, exuberant squiggle forms. The series doesn’t incorporate words nor is it bound, but it’s nonetheless successful as a late-career “text” bearing all the wisdom of LeWitt’s long and illustrious career. Scroll down to view prints from the series, and click here to browse all of the images. The Emblemata series is exclusively available as a complete set.

Sol LeWitt- Emblemata Print Series- Monotypes- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sol LeWitt
monotype, 11.25 x 22.37 in

Sol LeWitt- Emblemata Print Series- Monotypes- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sol LeWitt- Emblemata Print Series- Monotypes- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sol LeWitt- Emblemata Print Series- Monotypes- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sam Francis in Winter.

Sam Francis- Artist Portrait- Photo by Meibao D. Nee.- Zane Bennett Contemporary Art

“Ideas hang around images like shadows,” said Sam Francis (1923-1994). “The space at the center of these paintings is reserved for you.”  The quote seems particularly apt when it comes to the abstract expressionist’s aquatint “The Five Continents in Wintertime.” Francis employs his idiosyncratic drips and splatters, but pulls back his typically vibrant palette to reflect the purple, blue and brown tones of bare branches set against winter skies. Between these cool winter “shadows,” a field of snowy white paper shows through.

Francis was born in San Mateo, California. He was initially influenced by the work of abstract expressionists such as Mark Rothko, Arshile Gorky and Clyfford Still. While living in Paris in the 1950’s, he became associated with Tachisme. Tachisme was a reaction to cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, and sometimes scribbling reminiscent of calligraphy. Francis spent his time in Paris executing entirely monochromatic works, but his mature pieces are generally large oil paintings with splashed or splattered areas of bright contrasting color. Areas of white canvas are often left to show through, and in later works, paint is sometimes confined to the edges of the canvas. Scroll down to view “The Five Continents in Wintertime” and other works by Sam Francis.

Image: Meibao D. Nee.

Sam Francis- The Five Continents in Wintertime- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sam Francis
The Five Continents in Wintertime
aquatint, 23.75in x 48.75in

Sam Francis- Color Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Sam Francis
color lithograph, 30 x 20 in.

Sam Francis
Untitled #5, from Pasadena Box
lithograph, 11 x 15 in.

Click here to browse the complete Zane Bennett Contemporary collection.

Robert Indiana’s American Dream.

Robert Indiana- American Dream Series- Serigraph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Robert Indiana
Tilt from The American Dream
serigraph, 1997, 16.63 x 13 in

You might say that Pop artist Robert Indiana (b. 1928) lived the American Dream. Throughout the artist’s early childhood in Indiana, his family lived in poverty. They moved 21 times before Indiana turned 17, and his mother worked as a waitress in greasy spoon diners to make ends meet. Flash forward to the late 1950’s, and Indiana was a 20-something living in New York City and cavorting with the likes of Andy Warhol and Wynn Chamberlain. His hard-edged oil compositions bearing bright colors, provocative phrases and culturally significant numbers had caught the eye of the contemporary art world. In 1965, Indiana designed a Christmas card for MoMA featuring scarlet, stacked letters that spelled out “LOVE.” It would become his most iconic image, landing on a USPS postage stamp in 1973.

A few years before he created the LOVE image, Indiana looked back on his path to success with the first painting in his American Dream series. The same composition appears in Indiana’s 1997 serigraph Tilt from The American Dream, which is new to the Zane Bennett Contemporary collection. In the image, highly personal symbolism mingles with universal markers of Americanism.

The circles and stars that appear throughout the piece riff on advertising aesthetics of the period. In the black and yellow circle at top left, the numbers reference highways he roamed as a young man (including Route 66). The phrases “TAKE ALL” and “THE AMERICAN DREAM” represent an industrious but viciously competitive national ethos. In the bottom left circle, the word “TILT” evokes the pinball machines that Indiana encountered in the diners where his mother worked, and later in dive bars that he frequented. When paired with the other words in the tableau, “TILT” throws the egalitarian premise of The American Dream into question. This was the first of nine images in the American Dream series, created between 1961 and 2001. Tilt from the American Dream represents of Indiana’s epic, career-spanning exploration of the promises and pitfalls of American idealism.

Click here to learn more about Indiana’s print.

Halloween Art.

Mimmo Paladino- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Mimmo Paladino, Atlantico VI (Skeleton)linoleum block print, 74.25 x 23 in., 1987

Halloween is upon us, so we conjured a batch of spooky art from the Zane Bennett Contemporary collection. Behold Jim Dine’s raven à la Edgar Allan Poe, a spider web by Vija Celmins, a marionette masquerading as Frida Kahlo by Armond Lara, and other dark, mysterious creations. Trick or treat!

James Drake Prints- Zane Bennett Contemporary Art- Santa Fe New Mexico

James Drake
Salon of a Thousand Souls
57 x 43 in.

Armond Lara Sculpture- Zane Bennett Contemporary Art- Santa Fe New Mexico

Armond Lara
Marionette “As Frida”
wood and mixed media
36 x 15.50 x 16 in.

Manuel Amorim- Woodcut- Zane Bennett Contemporary Art- Santa Fe New Mexico

Manuel Amorim
17.75 x 11.75 in.

Vija Celmins- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Vija Celmins
Spider Web
10.88 x 13 in.

Jim Dine- Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Jim Dine
Sun’s Night Glow
35.5 x 51.5 in.

Juan Jose Molina- Fine Art Print- Zane Bennett Contemporary Art- Santa Fe New Mexico

Juan Jose Molina
34 x 24.25 in.

Click here to browse the complete Zane Bennett Contemporary collection.

Robert Rauschenberg, Rule Breaker.

Robert Rauschenberg- Cock Sure Print- Zane Bennett Contemporary Art- Santa Fe New Mexico
Robert Rauschenberg, Cock Sure, silkscreen, hot wax, silver pigment dust and acrylic on cardboard and glass, 60 x 40 in, 1993.

Robert Rauschenberg (1925-2008) is having a moment—though you could argue that the postmodern provocateur has been en mode since the midcentury. In any case, the Museum of Modern Art’s blockbuster survey show Robert Rauschenberg: Among Friends recently closed in New York, and SFMOMA’s manifestation of the exhibition opens in late November. The new show is titled Robert Rauschenberg: Erasing the Rules, a reference to the artist’s legendary erasure of a Willem De Kooning drawing in the name of art. It was a seminal moment in his early career, but hardly characteristic of the work he would produce in the following decades.

Rauschenberg was a master of addition rather than subtraction, fearlessly layering a vast arsenal of bizarre materials to create sculptural paintings, painted sculptures and three-dimensional drawings that he referred to as “Combines.” Cock Sure, a mixed-media print that he produced with Pace in the 1990’s, represents a late chapter of his persistent experimentation. “Cock Sure is an extension of his curiosity, applying paint directly onto the glass surface, increasing the depth of the work so that it became three-dimensional,” wrote Art Daily. “The work is characteristically by Rauschenberg as seen through the inclusion of everyday images: an open sign, chickens, a windmill, and a dog resting by a brick wall.” Scroll down to view more works by Rauschenberg in the Zane Bennett Contemporary collection.

Robert Rauschenberg- Arcanum VIII Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Robert Rauschenberg
Arcanum VIII
22.5 x 15.5 in

Robert Rauschenberg- Arcanum V Lithograph- Zane Bennett Contemporary Art- Santa Fe New Mexico

Robert Rauschenberg
Arcanum V
color silkscreen with hand-coloring and collage on paper
22.5 x 15.5 in

Robert Rauschenberg- Soviet/American Array II Intaglio- Zane Bennett Contemporary Art- Santa Fe New Mexico

Robert Rauschenberg
Soviet / American Array II
intaglio in 14 colors
87.5 x 52.25 in

Click here to view all of our artwork by Robert Rauschenberg.


Ed Ruscha’s Hourglass.

Ed Ruscha Artwork- Zane Bennett Contemporary- Fine Art Prints
Ed Ruscha, Relos Arena (HC), 1988, lithograph, 30 x 22 in

Despite being credited with a Pop sensibility, Ed Ruscha (b. 1937) defies categorization with his diverse output of photographic books and tongue-in-cheek photo-collages, paintings, and drawings. Ruscha’s work is inspired by the ironies and idiosyncrasies of life in Los Angeles, which he often conveys by placing glib words and colloquial phrases atop photographic images or fields of color. Known for painting and drawing with unusual materials such as gunpowder, blood, and Pepto Bismol, Ruscha draws attention to the deterioration of language and pervasive clichés in pop culture.

Ruscha’s lithograph Relos Arena is new to the Zane Bennett Contemporary collection. The artist’s bold style and idiosyncratic splatter effects are on dynamic display in the piece, but it also possesses an elegance and subtlety that echoes its subject matter. Scroll down to view detail images of this work, and click here to inquire now.

Ed Ruscha- Hourglass Print- Detail- Zane Bennett Contemporary Art

Ed Ruscha- Hourglass Print- Detail- Zane Bennett Contemporary Art

Ed Ruscha- Hourglass Print- Detail- Zane Bennett Contemporary Art

Helen Frankenthaler’s Reflections.

Helen Frankenthaler- Works on Paper- Zane Bennett Contemporary Arts- Santa Fe New Mexico

“A really good picture looks as if it has happened at once,” said Helen Frankenthaler (1928-2011). “It’s an immediate image.” The West Coast artist developed an entire painting technique around this idea. By thinning her oils with turpentine or water and splashing them across canvases, she created abstract images that possessed the immediacy she was after. Famed art critic Clement Greenberg heralded her “soak-stain” compositions as the next step in abstract expressionism’s evolution, after Jackson Pollock’s breakthrough drip paintings rocked the world.

“When Greenberg brought the abstract painters Kenneth Noland and Morris Louis to Frankenthaler’s studio in 1953, they seized upon both her technique and the broad, flat expanses of color she created,” writes Jon Mann for Artsy. “Greenberg was quick to… highlight a second impulse and aesthetic in Abstract Expressionism—Color Field Painting—of which Frankenthaler would be a leading exponent for over a decade.” Frankenthaler’s lithograph Reflections X exemplifies the flowing, lyrical nature of her best paintings. It’s from her Reflections series, 12 lithographs that she made with Tyler Graphics in 1995. Scroll down to see the new piece, and two other prints from the Zane Bennett Contemporary collection.

Helen Frankenthaler- Reflections X- Series Lithograph- Zane Bennett Contemporary Art

Helen Frankenthaler
Reflections X
14.75 x 11.75 in.

Helen Frankenthaler- Yellow Jack- Lithograph- Zane Bennett Contemporary Art

Helen Frankenthaler
Yellow Jack
30 x 38 in

Helen Frankenthaler
The Clearing
16.75 x 21 in

Click here to learn more about artwork by Helen Frankenthaler in the Zane Bennett Contemporary Collection.

Christo in Munich.

Christo- Form and Concept Gallery- Santa Fe New Mexico

Christo‘s early education in Soviet Socialist Realism, and his experience fleeing his home as a refugee of political revolution, informed his career’s numerous forays into real-world politics as a primary subject and source of his art making. His 35-year collaboration with the artist Jeanne-Claude, and the large-scale site-specific works they co-authored, stand out as his career’s greatest achievements.

Together, the duo made monumentally-scaled sculptures and installations that often utilized the technique of draping or wrapping large portions of existent landscapes, buildings, and industrial objects with specially engineered fabric. Christo and Jeanne-Claude made works that stand out as some of the most grandiose, ambitious, site-specific art works ever. While they often insisted that the aesthetic properties of their art constituted its primary value, reactions from audiences and critics worldwide have long recognized a broader commentary operating across their work—as exemplified by Christo’s serigraph and photo collage Wrapped Statues, The Glyptothek, Munich, created in the twilight of the Cold War.

Christo- Zane Bennett Contemporary Art- Santa Fe New Mexico

Wrapped Statues, The Glyptothek, Munich, 1988
serigraph and photo collage, 35 x 27 in.

Christo- Zane Bennett Contemporary Art- Santa Fe New Mexico


Christo- Zane Bennett Contemporary Art- Santa Fe New Mexico


Click here to learn more about this artwork by Christo.


Helen Frankenthaler’s Yellow Jack.

“My pictures are full of climates, abstract climates. They’re not nature per se, but a feeling,” said Helen Frankenthaler (1928-2011). A second-generation Abstract Expressionist painter, Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Jackson Pollock, Willem de Kooning and Arshile Gorky. She gained prominence with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952).

Frankenthaler’s works balance abstraction with elements of landscape and figuration, as seen in her 1987 lithograph Yellow Jack. The work transports the viewer to a calm seashore—or perhaps a cool desert—after dusk, with the rising moon’s bright yellow light bleeding from the composition’s edges. “This complicated relationship to landscape presents a constant tension in her art,” notes the Clark Art Institute in the exhibition materials for their current show, As In Nature: Helen Frankenthaler Paintings. “[Her works] are primarily abstract, yet reveal recognizable elements from the landscape that function, paradoxically, to reinforce their abstraction: as in nature, but not as in nature.”

Image: Helen Frankenthaler, Yellow Jack, 1987, lithograph, 30 x 36 in.

Art in Monochrome.

“Black is a property, not a quality,” Richard Serra (b. 1938) said. “A black shape can hold its space and place in relation to a larger volume and alter the mass of that volume readily.” Even in his two-dimensional artworks, Serra wields black forms as though they possess literal mass and volume.

Scroll down to view artwork from Serra and other masters of monochrome.

Richard Serra
Paths and Edges #13
Etching on buff Lanaquarelle watercolor paper
23.50 x 35.25 in

“In terms of weight, black is heavier, creates a larger volume, holds itself in a more compressed field. […] Since black is the densest color material, it absorbs and dissipates light to a maximum and thereby changes the artificial as well as the natural light in a given room.”

Vija Celmins
Spider Web
10.88 x 13 in

“I did a whole series of black works—I don’t know now—twenty, thirty works. I thought it was quite difficult to make a black painting work because it has such an incredibly strong silhouette, you know? But it did a series of things. It invited you closer and closer to the work. I don’t know what I think about that yet, but I thought it was sort of an interesting phenomena that happened.”

Martin Puryear
Untitled LP 2
17.87 x 23.75 in

“There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.”

Armond Lara
Bowl of Cherries
Graphite on paper
40.50 x 55 in

“I look for interesting shapes. I just start putting these things down on a piece of handmade paper, and then it’s a process of elimination to find a focal point for the piece. Then I find other things to add that make the central object out of context. What I want is surprise, surprise and strong composition, and to get that I need tension.”

Donald Sultan’s Flowers.

By popular demand, we’ve refreshed our collection of Flower aquatints by Donald Sultan (b. 1951). The painter and printmaker emerged as a master of the New Image movement in the 1970’s, producing elegant, minimalist imagery with industrial materials that were decidedly postminimalist. Abstracted blooms are a recurring motif in his work. The new aquatints in our collection offer prime examples of Sultan’s style, characterized by stark, black forms amid vibrant fields of color.

Scroll down to view four new Sultan aquatints in the Zane Bennett Contemporary collection, and click here to browse all available works.

Donald Sultan
Flower (Green, Red, Black & Blue)
aquatint, 31.50 x 27.87 in (each print)

New Robert Rauschenberg Acquisitions.

“My whole area of art has always been addressed to working with other people,” said Robert Rauschenberg (1925-2008). “Ideas are not real estate.” It’s this collaborative philosophy that inspired MoMA’s Robert Rauschenberg: Among Friends, the first retrospective of the American artist’s work in the 21st century. The museum calls the show an “open monograph,” with Rauschenberg’s work appearing alongside the art of his contemporaries. It’s a labyrinthine flow chart of ideas, which is also an apt way to describe his prints.

Just as Rauschenberg incorporated everyday objects into his iconic assemblages, he brought quotidian imagery crashing together through printmaking. He often incorporated his own photographs and found images, electrifying them with colorful, exuberant marks. In Rauschenberg’s prints, we sense his dual role as a disruptor of Abstract Expressionism and a progenitor of Pop Art. We’ve added two new prints by Rauschenberg to the Zane Bennett Contemporary collection. Scroll down to view Earth Day and Arcanum V, and click here to browse all of our artwork by Rauschenberg.

Robert Rauschenberg
Arcanum V (from Arcanum Series), 1981
Color silkscreen with hand-coloring and collage on paper
Published and printed by Styria Studio, New York
#12 of 85
Signed and dated with edition in graphite lower right sheet; Styria
Studio blind stamp lower right sheet
Image/sheet: 22.5″ x 15.5″; Frame: 31.25″ x 24.25″


Robert Rauschenberg
Earth Day, 1990
Color silkscreen and color pochoir on wove paper pencil
sheet: 64.25″ h x 42.75″ w overall (with frame): 68.25″ h x 46.5″ w

Rauschenberg was an avid environmental activist. In 1970, he created a print for the inaugural Earth Day. Twenty years later, he observed Earth Day 1990—which vaulted the celebration onto the world stage, with over 200 million participants—by creating this color silkscreen.

Works by Antonio Segui.

Antonio Seguí (b. 1934) is a painter and printmaker whose vivid, often satirical figurative works focus on the people and vistas of modern urban life. He’s inspired by comic strip characters, texts, arrows and various signs, juxtaposed onto the figures that resemble comic strip-style language. Born and raised in Cordoba, Argentina, Seguí has maintained a serious art practice since he was a teenager. His early work was influenced by the Cubists, Fernand Léger and Diego Rivera.

In 1957, Seguí had his first solo exhibition in Cordoba at the age of 23. He moved to Mexico the following year, where he studied printmaking. After a brief return to Argentina, he moved to Paris in 1963, where he lives and works today. He has exhibited at galleries and institutions throughout the world. In 2005, his work was the subject of a retrospective at the Musée National d’Art Moderne, Centre Georges Pompidou, in Paris. Scroll down to see works by Seguí from the Zane Bennett Contemporary collection, and click here to learn more on our website.

Antonio Seguí
Las Cuates Esquinas
color lithograph
25.50 x 23.63 in

Antonio Seguí
color lithograph
15.81 x 22.93 in

Antonio Seguí
On Attend
color lithograph
22.37 x 19.18 in

Antonio Seguí
color lithograph
15.81 x 22.93 in

Sam Francis.

“Painting is about the beauty of space and the power of containment,” said Sam Francis (1923-1994). The artist is best known for abstract, mural-sized canvases on which thin washes, drips and splatters of primary colors float within vast areas of white space—a format emphasized in his iconic series of “Edge Paintings.” The monumentality of his paintings places them within the tradition of Abstract Expressionist pictures, which fill the viewer’s field of vision with a direct experience of color and movement.

Francis’ 1970’s color lithograph Cut Throat is the newest addition to the Zane Bennett Contemporary collection. Look below to learn more, and click here to browse more work by Sam Francis in the Zane Bennett Contemporary collection.

Sam Francis
Cut Throat AP V
Color Lithograph
45.25 x 31.25 in