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For nearly five decades, the artist has been producing colorful abstract paintings and works on paper that feature geometric or bodily forms. Between 2009 and 2011, Dintenfass produced "Perfect Pitch," a series of prints that focuses on the relationship between color and sound. The title of this piece cleverly informs us that the work's circular motif refers to the cymbols. Choice in color, arrangement of the motifs and their visible texture can be considered a visual interpretation of the vibrating high-pitched sound two cymbols create when struck together.

Source: NEWS May Jun Jul Aug 2021


DimensionsSheet (/image): 31 1/2 × 31 1/2 in. (80 × 80 cm)
Accession Number 2021.1
Classificationsprint
SignedMD 2011 (l,r graphite) Dintenfass (verso l,r graphite)
InscriptionsTP (l,l graphite) Cymbalic VI T.P 2011 (verso l,r graphite)
Provenance(Probably Driscoll Babcock Gallery, New York); Jason B. Gurewitz, New York; Des Moines Art Center [gift of the previous, 2021]
Cymbalic VI (Perfect Pitch Trial Proof)
Photo Credit: Rich Sanders, Des Moines
Photo Credit: Rich Sanders, Des Moines
Photo Credit: Rich Sanders, Des Moines
Spectators, Patty Hearst trial, San Francisco, California
Bill Owens
1976
Photo Credit: Rich Sanders, Des Moines
The most interesting market in the world: a perfect trade, London
Alfred Eisenstaedt
ca. 1930s
Photo Credit: Rich Sanders, Des Moines
Untitled (“... the girl [in the photo] is the daughter of the Leipzig Bürgermeister, she’s just committed suicide. The girl... looked like she was asleep ... but the layer of dust on her lips and face, on her perfect row of teeth, dust from streetfighting and explosions, meant that now she was just another surface in the room.”)
Roni Horn
2014-2016
Photo Credit: Richard Sanders, Des Moines
Je vis un voyageur…, from "Les Papillons"
Pierre Amédée Varin
1852
Photo Credit: Rich Sanders, Des Moines
La clé des chants, 8 (The Key of Songs, 8) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
L'interieur de la vue, Premier poème visible 2 (The Interior of Sight, First Visible Poem, 2) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
L'interieur de la vue, Premier poème visible 4 (The Interior of Sight, First Visible Poem, 4) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
L'interieur de la vue, Premier poème visible 6 (The Interior of Sight, First Visible Poem, 6) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
Le rire du coq, 12 (The Cock's Laugh, 12) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
La clé des chants, 2 (The Key of Songs, 2) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
L'interieur de la vue, Troisième poème visible 2 (The Interior of Sight, First Visible Poem, 2) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933
Photo Credit: Rich Sanders, Des Moines
La clé des chants, 10 (The Key of Songs, 10) from the unbound printer's proof of "Une Semaine de Bonté, Cinquième Cahier (A Week of Kindness, Fifth Volume)" (recto, left)
Max Ernst
1933