Peter Halley is a contemporary painter, writer, teacher and critic, and is largely recognized for his significant contributions to the Neo-Conceptualist movement of the 1980s – and namely his near florescent, geometrically structured paintings. Born in 1953 in New York City, Halley completed his BA in art history at Yale University, New Haven, and, later, completed his MFA at the University of New Orleans. Following his graduate studies, he moved back to New York in the early 1980s, and was soon given a his first solo exhibition at PS122 Gallery. His early works included references to pop culture as well as broader social issues, but as his practice developed he began incorporating higher degrees of geometric abstraction as well as his signature use of Day-Glo paint. Halley’s mature work examined geometry through the synthesis of grid structures inspired by urban spaces with the imagined lattice networks of the digital landscape. Halley – along with other contemporaneous artists working within the scope of neo-conceptualism such as Sarah Charlesworth, Annette Lemieux and Jeff Koons – sought to simultaneously highlight and critique the roles that physical and technological powers play in an increasingly commodity-driven society. Ultimately, his oeuvre on a whole, including his paintings, sculptures and writings, profoundly impacted the development of American post-modern intellectualism. Along with Bob Nickas, Halley co-founded Index magazine in 1996, which featured interviews with figures in the artistic fields, similar to Andy Warhol’s Interview magazine; the magazine was considered an important art publication throughout its run until its final issue in 2005. In addition to his painting and writing, Halley has had a significant teaching career at Columbia University, New York, the University of California, Los Angeles, and Yale University. Many of his works are installed in public spaces, including a forty-foot painting at the Dallas/Fort Worth International Airport and a five-floor permanent installation at the Gallatin School at New York University. His works can be found in the permanent collections of the Art Institute of Chicago, the Museum of Modern Art, New York, the Tate Modern, London, and many other major museums around the world.

Peter Halley

Color, Nine Times by <a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley&nbsp;(American, born 1953).</li><li>Acrylic, fluorescent acrylic on LITO HI-RND technology print on aluminium.</li><li>Signed and numbered.</li><li>Part of an edition of 35.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Color, Nine Times

Color, 9 Times by <a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic, fluorescent acrylic on HI-RND technology print on aluminium.</li><li>Signed and numbered.</li><li>Part of an edition of 35.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Color, 9 Times

Red, Nine Times,&nbsp;by&nbsp;<a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic, fluorescent acrylic on HI-RND technology print on aluminum.</li><li>Signed and numbered.</li><li>Part of an edition of 35.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Red, Nine Times

Yellow Cell, by <a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic, fluorescent acrylic on LITO HI-RND technology print on aluminum.</li><li>Part of an edition of 20.</li><li>Signed and numbered.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Yellow Cell

Rebus IV, by <a href="https://www.sothebys.com/en/search?query=peter+halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2026.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic and fluorescent acrylic, on LITO Hi-Rnd© technology print on aluminum.</li><li>Part of a limited edition of 20.</li><li>Hand signed and numbered via adhered backplate.</li></ul> Sotheby’s and LITO present <a href="https://www.sothebys.com/en/buy/fine-art/editions/exclusive-editions" rel="noopener noreferrer" target="_blank">Exclusive Editions</a>: original works by contemporary artists brought to life through the LITO Hi-Rnd© process, with texture, relief and color. The two new artworks, Rebus I and Rebus IV, by American artist Peter Halley, feature the artist's signature Roll-A-Tex textured surface digitally rendered and "cloned" twelve times. Inspired by Halley’s ‘Cell Grid’ paintings, a series which began in 2014. Each edition offers the tactility of Halley’s iconic textured paintings combined with intense and vibrating colors, creating a new hybrid art form that is both serial and unique. A central figure in the American Neo-Conceptualist movement of the 1980s, Peter Halley is known for the use of geometric abstraction and grid-like compositions in his paintings. Over the past five decades, Halley’s lexicon has included three elements which explore the digital era and industrialization: ‘prisons’, ‘cells’ and ‘conduits.’ The texture of Rebus I, and Rebus IV is informed by Halley’s use of Roll-A-Tex in his paintings (a low-budget paint additive seen in popcorn ceilings). Halley challenged LITO Editions to "clone" this material, repeating the twelve individual cells on metal frames, which were then bolted together into a tightly packed contra- punctual grid, an effect heightened by the arrangement of each cell at a different level of relief. The series has been conceived through digital processes – to create the texture, relief and structure of the work – and then hand-painted at the LITO Tech Lab – a large space in Austria spanning a laboratory, studio and workshop.

Rebus IV

Rebus I, by <a href="https://www.sothebys.com/en/search?query=peter+halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2026.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic and fluorescent acrylic, on LITO Hi-Rnd© technology print on aluminum.</li><li>Part of a limited edition of 20.</li><li>Hand signed and numbered via adhered backplate.</li></ul> Sotheby’s and LITO present <a href="https://www.sothebys.com/en/buy/fine-art/editions/exclusive-editions" rel="noopener noreferrer" target="_blank">Exclusive Editions</a>: original works by contemporary artists brought to life through the LITO Hi-Rnd© process, with texture, relief and color. The two new artworks, Rebus I and Rebus IV, by American artist Peter Halley, feature the artist's signature Roll-A-Tex textured surface digitally rendered and "cloned" twelve times. Inspired by Halley’s ‘Cell Grid’ paintings, a series which began in 2014. Each edition offers the tactility of Halley’s iconic textured paintings combined with intense and vibrating colors, creating a new hybrid art form that is both serial and unique. A central figure in the American Neo-Conceptualist movement of the 1980s, Peter Halley is known for the use of geometric abstraction and grid-like compositions in his paintings. Over the past five decades, Halley’s lexicon has included three elements which explore the digital era and industrialization: ‘prisons’, ‘cells’ and ‘conduits.’ The texture of Rebus I, and Rebus IV is informed by Halley’s use of Roll-A-Tex in his paintings (a low-budget paint additive seen in popcorn ceilings). Halley challenged LITO Editions to "clone" this material, repeating the twelve individual cells on metal frames, which were then bolted together into a tightly packed contra- punctual grid, an effect heightened by the arrangement of each cell at a different level of relief. The series has been conceived through digital processes – to create the texture, relief and structure of the work – and then hand-painted at the LITO Tech Lab – a large space in Austria spanning a laboratory, studio and workshop.

Rebus I

Blue, Nine Times by <a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley&nbsp;(American, born 1953).</li><li>Acrylic, fluorescent acrylic on LITO HI-RND technology print on aluminium.</li><li>Signed and numbered.</li><li>Part of an edition of 35.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Blue, Nine Times

Blue, Nine Times, by&nbsp;<a href="https://www.sothebys.com/en/search?query=Peter+Halley&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Peter Halley</a>, 2023.<ul><li>Peter Halley (American, born 1953).</li><li>Acrylic, fluorescent acrylic on HI-RND technology print on aluminum.</li><li>Signed and numbered.</li><li>Part of an edition of 35.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

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