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Altered States: The Etchings of Richard Pousette-Dart

22 Aug, 2025 - 26 Apr, 2026
For Richard Pousette-Dart (1916鈥1992), the print pulled straight from the press offered tantalizing possibilities for transformation by later applications of paint, graphite, and ink.

Such modifications and revisions become the extraordinary focus of his work in multiples. Altered States is a consideration of etchings created by Richard Pousette-Dart during a period of intensive immersion and experimentation in intaglio printmaking, offering a fascinating vantage into the artist鈥檚 diverse and innovative work in the medium.

Best known as an Abstract Expressionist, Pousette-Dart approached works of art as points of departure rather than fixed destinations, rejecting the rote and repeatable. Pousette-Dart was not the first to paint and draw on his prints. Hand-coloring dates to the origins of printmaking itself, yet unlike the majority of his predecessors, he was not interested simply in filling in the outlines or heightening with decorative hues. Rather, his daubs, lines, drips, and accretions are integral to the works. Through his spontaneous application of layers of colors atop the etchings, the prints evolve into something unique and new, entirely separate from the originals.



For Richard Pousette-Dart (1916鈥1992), the print pulled straight from the press offered tantalizing possibilities for transformation by later applications of paint, graphite, and ink.

Such modifications and revisions become the extraordinary focus of his work in multiples. Altered States is a consideration of etchings created by Richard Pousette-Dart during a period of intensive immersion and experimentation in intaglio printmaking, offering a fascinating vantage into the artist鈥檚 diverse and innovative work in the medium.

Best known as an Abstract Expressionist, Pousette-Dart approached works of art as points of departure rather than fixed destinations, rejecting the rote and repeatable. Pousette-Dart was not the first to paint and draw on his prints. Hand-coloring dates to the origins of printmaking itself, yet unlike the majority of his predecessors, he was not interested simply in filling in the outlines or heightening with decorative hues. Rather, his daubs, lines, drips, and accretions are integral to the works. Through his spontaneous application of layers of colors atop the etchings, the prints evolve into something unique and new, entirely separate from the originals.



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