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D'Arcangelo, Allan

ALLAN D'ARCANGELO Yield, 1968

Regular price $250
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First edition exhibition poster by Alan D’Arcangelo, created for his exhibition at the Smithsonian Institution, Washington, D.C. Published by List Art and printed in serigraph by HKL, Ltd., this poster captures D’Arcangelo’s bold, graphic style that made him a central figure in the Pop Art movement. Known for his sharp use of color and geometric precision, D’Arcangelo often explored themes of American culture, advertising, and the modern landscape. This poster exemplifies the artist’s ability to transform simple visual elements into powerful cultural statements, making it both a striking display piece and a collectible work of art history.

Details

Sku: AW1047

Artist: Allan D'Arcangelo

Title: Yield

Year: 1968

Signed: No

Medium: Serigraph

Edition Size: 1000

Framed: No

Frame Suggestion: Inquire with our experts for framing suggestions.

Condition: A-: Near Mint, very light signs of handling

Dimensions

Paper Size: 45 x 29.5 inches ( 114 x 75 cm )

Image Size: 45 x 29.5 inches ( 114 x 75 cm )

ALLAN D'ARCANGELO Yield, 1968

$250

About the Artist

Allan D'Arcangelo

Allan D'Arcangelo (1930 - 1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59. He returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. However, throughout his life, D'Arcangelo remained politically active-and this is evident in his painting, though not necessarily in an overt way. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. Through his painting and writings, it is clear that D'Arcangelo had a palpable discomfort with the social mores of his time, which can be read in the detached treatment with which he treated his subjects.
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