"FOUR THE FIRST TIME"/PRICE LIST (FTFT)Shared Painting labels - Google Docs

Shared Painting labels - Google Docs

FOFOUR THE FIRST TIME  EXHIBIT LABELS

May 18-July 31,2022

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#46 “FREE/ASSOCIATIONS” 2022 

ACRYLIC ON CANVAS

Triptych 14”x42”

1,400

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#44 “COLOR OF CHAOS” 2022

ACRYLIC ON CANVAS

48”x48”

3,600

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#43 "START/ANYWHERE" Homage to Drawing",2022

ACRYLIC ON CANVAS

30”x48”

2,900

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

 #45 "GREENSCAPE" Signs of Life/Homage to Drawing"2022

ACRYLIC ON CANVAS

24"x36"

NFS

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#39A "RUPTURE" 2020

ACRYLIC ON CANVAS

Diptych 36X48" (each canvas)

3,100

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#39B "RUPTURE" 2020

ACRYLIC ON CANVAS

Diptych 36X48"  (each canvas)

3,100

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#40 A&B “REENVISIONING SHAPE” 2020

ACRYLIC ON CANVAS

Diptych 10X40”  (combined)

1,200

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#29 "TAKING/SHAPE" 2017

ENAMEL HOUSE PAINT ON CANVAS

36X48" 

3,100

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#12 "CELLULAR/STARTS" 2016

ENAMEL HOUSE PAINT ON CANVAS

36X48" 

3,100

BEVERLY RICHEY

FIRST HUNDRED PAINTINGS SERIES

#18 “UNTITLED” 2017

ACRYLIC PAINT ON CANVAS

36X48" 

3,100

ESTIMATED HANGING SPACE: 118in = 9ft 10in with 6in+ spacing

BELOW: ESTIMATED HANGING 190in=15ft 10in with 6in+ spacing

Article about the Factory Exhit at New Haven Mixed Use

Mixed Use

"Covering nearly two city blocks along Hamilton Street, the massive space, where untold New Haveners produced and assembled timepieces, became the perfect place for those who preferred to fly under the radar. Among them were the Papier Mache Video Institute (PMVI), founded in 1978 by Paul Rutkovsky, an artist and a fellow at Harvard’s Institute for the Study of the Avant-Garde, and later taken up by experimental artist Beverly Richey. She created a legendary one-day exhibition at the factory in 1983 titled 1984, which 700 visitors lined up to see. PMVI took on the issues of the day—issues not likely to be addressed by mainstream galleries and museums—including “feminism, war, capitalism, elitism, Urban Renewal and ‘TV mono-culture.’” Artifacts of the group’s life inside the factory are on view in Factory, including video footage of multimedia installations (made, in part, of papier mâché), a performance piece on “how to draw a sink” and artists at work and in video portrait closeups.