Loie Hollowell – Milk Fountain, 2021

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Milk Fountain, 2021
Archival ink jet with screen print
28” × 21” 71.1 cm × 53.3 cm
Edition of 30 + 5 Artist Proofs
$10,000

 

Ballroom Marfa is pleased to offer Milk Fountain, 2021 a limited edition print by Loie Hollowell available to ship mid-to-late January and signed by the artist. This work, in an edition of 30, continues Hollowell’s exploration of bodily landscapes and sacred iconography, using geometric shapes to move a figure or its actions into abstraction. Originating in autobiography, her work explores themes of sexuality, often through allusions to the human form with an emphasis on women’s bodies.

Loie Hollowell was part of After Effect, a group exhibition at Ballroom Marfa in 2016 that featured immersive artworks in painting, sculpture, installation and film and ranged from the cosmic and psychedelic to the sensual and visionary. The exhibition looked at historical paintings and film from the ‘30s and ‘40s alongside works from contemporary artists including Hollowell that addressed notions of the sublime, touching on mortality, landscape, the body, and various modes of abstraction.

Proceeds from the sales of this edition directly support the continuation of Ballroom Marfa’s exhibitions and the organization’s mission to commission internationally-relevant artworks and performances that respond to and engage with our community and environment. A portion of proceeds will also benefit the West Texas Food Bank, a nonprofit that has been feeding families in the entire West Texas area for more than 35 years. With help from more than 80 partner agencies, they’re able to provide food to individuals across 34,000 square miles of Texas.

Framing Recommendations:

Standard framing for Loie Hollowell’s prints have been: maple frame with a white rub finish, 11/16” face x 1-13/16” depth hinged to a 4-ply ArtCare Pearl White with a 7/8” float all around. The front glass used is a 3mm Optium Museum Acrylic.

About Loie Hollowell:

Loie Hollowell (b. 1983 ) uses line drawing as a point of departure, pushing personal or metaphorical depictions of the body into a lexicon of sacred shapes: mandorla, ogees, and lingams. She then sketches over her drawing in pastel, working out details of color and texture, which she then replicates in oil paint. The scale of her work also carries significance, relating to specific dimensions of the body-the head, torso, and groin. By using a language of symmetry and often limiting her compositions to a single axis, Hollowell intentionally slows the pace of her investigation, allowing her to expand on her motifs. With strong colors, varied textures, and geometrical symmetry, Hollowell’s practice is situated in lineage with the work of the Transcendental Painting Group (1938–41), Georgia O’Keeffe, Gulam Rasool Santosh, and Judy Chicago.