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Carole Eisner
Turq (geometric, blue, texture, acrylic on paper painting)

1980

$2,760
$3,45020% Off
£2,086.72
£2,608.4120% Off
€2,435.07
€3,043.8420% Off
CA$3,927.34
CA$4,909.1820% Off
A$3,984.15
A$4,980.1920% Off
CHF 2,274.74
CHF 2,843.4220% Off
MX$48,241.83
MX$60,302.2920% Off
NOK 26,779.22
NOK 33,474.0320% Off
SEK 26,690.35
SEK 33,362.9420% Off
DKK 18,208.71
DKK 22,760.8920% Off

About the Item

Turq, short for turquoise, reflects Carole Eisner’s love of bright color applied to formal abstract shapes set in a geometric landscape of her creation. Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, Elizabeth Weiner Gallery, Syracuse University’s Lubin House, the Jack Gallery, the Segal Gallery and the First Women’s Bank; and elsewhere at the Jill Youngblood Gallery, LA, the Silvermine Center for the Arts, New Canaan, CT, and in Tokyo, at Gallery Tanishima and Gallery Sagan. She has participated in group shows at The Guggenheim Collection, NY (Recent Acquisitions show, 1986), The Atria Gallery, Hartford, CT, Neill Gallery, NY, The Institute of Contemporary Art, London, The Michael Stone Gallery, McLean, VA, and Gallery 99, Bay Harbor Islands, FL. Eisner is represented in private, public and corporate collections and has been published in The New York Times, New York Magazine, Who’s Who in American Art, Vogue and New York Newsday. Eisner, her husband and three dogs live in Weston, CT. Artist Statement: My interest in pure color and geometric shapes has been an overarching theme in the many artistic pursuits I have undertaken in my career. From my first years as a fashion designer, I gravitated to painting and sculpture. Abstraction, geometry, shape and color have always been at the core of my work. The paintings in this exhibit, from 1979 to the early 80s, are based on the rectangle. I was influenced by Albers and Rothko, Mondrian and Bolotowsky. I loved the experimentation and simplicity of Albers work in examining the juxtaposition of two colors vibrating off each other. His work was more cerebral, more controlled than mine; Rothko's more passionate and emotional and Mondrian and Bolotowsky, more linear and graphic. I endeavored to create work in response to these Masters, by using my own color palette, adding personal symbols and hieroglyphics to animate and create a conversation on the canvas. Later in the series, I tested the addition of glitter, adding texture and playfulness to the paintings.

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