Dwight Ripley

Travel Posters and Language Panels

January 28 – March 10, 2012

Constellation!
1968
ink and colored pencil on paper
11 x 14 inches

Polish Graffiti
1968
ink and colored pencil on paper
11 x 14 inches

We Are Friends
1968
ink and colored pencil on paper
11 x 14 inches

Alicante
1962
ink and colored pencil on paper
14 x 20 inches

Setúbal
1962
ink and colored pencil on paper
14 x 20 inches

Torcal de Antequera
1962
ink and colored pencil on paper
14 x 20 inches

El Cabo de Gata
1962
ink and colored pencil on paper
14 x 20 inches

Loulé no Algarve
1962
ink and colored pencil on paper
14 x 20 inches

Hellín
1962
ink and colored pencil on paper
20 x 14 inches

Menorca
1962
ink and colored pencil on paper
14 x 20 inches

Petrel in a Cage
1951
ink and colored pencil on stationery
10 1/2 x 7 1/4 inches

Peacock in a Cage
1951
ink and colored pencil on stationery
10 1/2 x 7 1/4 inches

Constellations in a Cage
1951
ink and colored pencil on stationery
10 1/2 x 7 1/4 inches

Evolution with Mushrooms, Bud, and Pineapple
1946
ink, colored pencil, and cut printed reproductions on paper
13 5/8 x 16 3/8 inches

Dodo in a Cage
1951
ink and colored pencil on stationery
10 1/2 x 7 1/4 inches

Press Release

Dwight Ripley was a British born artist, whose work was the subject of five solo exhibitions at Tibor de Nagy starting in 1951. A polymath, Ripley was a serious botanist, the author of a volume of poetry, and spoke fifteen languages. However, it was for his artwork that he was most recognized. Six of his drawings were included in an exhibition at Peggy Guggenheim’s legendary gallery Art of This Century.

Ripley's "Travel Posters" and "Language Panels"-- two series of drawings made in 1962 and 1968, the last decade of his life -- combine inventive graphic clarity with allusive puns based on popular art forms. In his "Travel Posters," the enticing scenery has been configured from the scientific names of indigenous plants, but spun in a cursive web that suggests the wandering line of Surrealist or abstract art. In the "Language Panels," his etymologically-driven idea of the comic strip, the drawings have been divided into mysterious quadrants that imply narratives of both discovery and danger. Colorful, unusual, and pioneering in their steadfast insistence on colored pencil, the drawings are prescient of the epistemological savvy and environmental awareness that came to characterize the era we still recognize as our own.

Catalogue available.