Red Grooms

Huge Red Grooms Monotype Oil Painting LA Hollywood Circus Film Cartoon Pop Art

2006

Overall 21 X 27 image is 17.25 X 23.5 This is a mixed media print on canvas by beloved comedian and artist Jonathan Winters. This one depicts a surrealist bird with umbrellas Artist: Jonathan Winters Medium: Mixed media print on canvas; hand embellished Signature: Signed by the artist in gold paint pen, lower right from A/P edition of 25 signed in gold paint pen; original plates have been destroyed Condition: Excellent Jonathan Harshman Winters III (November 11, 1925 – April 11, 2013) was an American comedian, actor, author, and artist. Beginning in 1960, Winters recorded many classic comedy albums for the Verve Records label. He also had records released every decade for over 50 years, receiving 11 Grammy nominations, including eight for Best Comedy Album, during his career. From these nominations, he won the Grammy Award for Best Album for Children for his contribution to an adaptation of The Little Prince in 1975 and the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. With a career spanning more than six decades, Winters also appeared in hundreds of television shows and films, including eccentric characters on The Steve Allen Show, The Garry Moore Show, The Wacky World of Jonathan Winters (1972–74), Mork & Mindy, Hee Haw, and It's a Mad, Mad, Mad, Mad World. He also voiced Grandpa Smurf on The Smurfs TV series from 1986 to the show's conclusion in 1989. Over twenty years later, Winters was introduced to a new generation through voicing Papa Smurf in The Smurfs (2011) and The Smurfs 2 (2013). Winters died nine days after recording his dialogue for The Smurfs 2; the film was dedicated in his memory. In 1991, Winters won the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series for playing Gunny Davis in the short-lived sitcom Davis Rules. 1999 saw Winters become the 2nd recipient of the prestigious Mark Twain Prize for American Humor. In 2002, he was nominated for the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series for his performance as Q.T. Marlens on Life with Bonnie. Winters was presented with a Pioneer TV Land Award by Robin Williams in 2008. Winters also spent time painting and presenting his artwork, including Surrealist silkscreens and sketches, in many gallery shows. He authored several books. His book of short stories, titled Winters' Tales (1988), made the bestseller lists. Winters was born in Dayton, Ohio, to Alice Kilgore Rodgers, who later became a radio personality, and her husband Jonathan Harshman Winters II, an insurance agent who later became an investment broker. He was a descendant of Valentine Winters, founder of the Winters National Bank in Dayton, Ohio (now part of JPMorgan Chase). Of English and Scotch-Irish ancestry. Winters had described his father as an alcoholic who had trouble holding a job. His grandfather, a frustrated comedian, owned the Winters National Bank, which failed as the family's fortunes collapsed during the Great Depression. During his senior year at Springfield High School, Winters quit school to join the U.S. Marine Corps at age 17 and served two and a half years in the Pacific Theater during World War II. Upon his return, he attended Kenyon College. He later studied cartooning at Dayton Art Institute. During the late 1960s and early 1970s, Winters acted in The Russians Are Coming, the Russians Are Coming (1966), had a weekly CBS show called The Jonathan Winters Show from 1967 to 1969, and appeared in Viva Max! (1970).[3] Additionally, he was a regular (along with Woody Allen and Jo Anne Worley) on the Saturday morning children's television program, Hot Dog in the early 1970s. Winters received eleven Grammy nominations during his career, including eight for the Grammy Award for Best Comedy Album; he won the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. In 1999, he was awarded the Kennedy Center's Mark Twain Prize for American Humor, becoming the second recipient. In 2004, Comedy Central Presents: 100 Greatest Stand-Ups of All Time ranked Winters as the #18 greatest stand-up comedian. Winters lived near Santa Barbara, California, and was often seen browsing or "hamming" for the crowd at the antique and gun shows on the Ventura County fairgrounds. He often entertained the tellers and other employees whenever he visited his local bank to make a deposit or withdrawal. Additionally, he spent his time painting and attended many gallery showings, even presenting his art in one-man shows. With his round, rubber-faced mastery of impressions (including ones of John Wayne, Cary Grant, Groucho Marx, James Cagney, and others) and improvisational comedy, Winters became a staple of late-night television with a career spanning more than six decades. He named James Thurber...

Overall 21 X 27 image is 17.25 X 23.5 This is a mixed media print on canvas by beloved comedian and artist Jonathan Winters. This one depicts old biplane airplanes and parachutes Artist: Jonathan Winters Medium: Mixed media print on canvas; hand embellished Signature: Signed by the artist in gold paint pen, lower right from A/P edition of 25 signed in gold paint pen; original plates have been destroyed Condition: Excellent Jonathan Harshman Winters III (November 11, 1925 – April 11, 2013) was an American comedian, actor, author, and artist. Beginning in 1960, Winters recorded many classic comedy albums for the Verve Records label. He also had records released every decade for over 50 years, receiving 11 Grammy nominations, including eight for Best Comedy Album, during his career. From these nominations, he won the Grammy Award for Best Album for Children for his contribution to an adaptation of The Little Prince in 1975 and the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. With a career spanning more than six decades, Winters also appeared in hundreds of television shows and films, including eccentric characters on The Steve Allen Show, The Garry Moore Show, The Wacky World of Jonathan Winters (1972–74), Mork & Mindy, Hee Haw, and It's a Mad, Mad, Mad, Mad World. He also voiced Grandpa Smurf on The Smurfs TV series from 1986 to the show's conclusion in 1989. Over twenty years later, Winters was introduced to a new generation through voicing Papa Smurf in The Smurfs (2011) and The Smurfs 2 (2013). Winters died nine days after recording his dialogue for The Smurfs 2; the film was dedicated in his memory. In 1991, Winters won the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series for playing Gunny Davis in the short-lived sitcom Davis Rules. 1999 saw Winters become the 2nd recipient of the prestigious Mark Twain Prize for American Humor. In 2002, he was nominated for the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series for his performance as Q.T. Marlens on Life with Bonnie. Winters was presented with a Pioneer TV Land Award by Robin Williams in 2008. Winters also spent time painting and presenting his artwork, including Surrealist silkscreens and sketches, in many gallery shows. He authored several books. His book of short stories, titled Winters' Tales (1988), made the bestseller lists. Winters was born in Dayton, Ohio, to Alice Kilgore Rodgers, who later became a radio personality, and her husband Jonathan Harshman Winters II, an insurance agent who later became an investment broker. He was a descendant of Valentine Winters, founder of the Winters National Bank in Dayton, Ohio (now part of JPMorgan Chase). Of English and Scotch-Irish ancestry. Winters had described his father as an alcoholic who had trouble holding a job. His grandfather, a frustrated comedian, owned the Winters National Bank, which failed as the family's fortunes collapsed during the Great Depression. During his senior year at Springfield High School, Winters quit school to join the U.S. Marine Corps at age 17 and served two and a half years in the Pacific Theater during World War II. Upon his return, he attended Kenyon College. He later studied cartooning at Dayton Art Institute. During the late 1960s and early 1970s, Winters acted in The Russians Are Coming, the Russians Are Coming (1966), had a weekly CBS show called The Jonathan Winters Show from 1967 to 1969, and appeared in Viva Max! (1970).[3] Additionally, he was a regular (along with Woody Allen and Jo Anne Worley) on the Saturday morning children's television program, Hot Dog in the early 1970s. Winters received eleven Grammy nominations during his career, including eight for the Grammy Award for Best Comedy Album; he won the Grammy Award for Best Spoken Comedy Album for Crank(y) Calls in 1996. In 1999, he was awarded the Kennedy Center's Mark Twain Prize for American Humor, becoming the second recipient. In 2004, Comedy Central Presents: 100 Greatest Stand-Ups of All Time ranked Winters as the #18 greatest stand-up comedian. Winters lived near Santa Barbara, California, and was often seen browsing or "hamming" for the crowd at the antique and gun shows on the Ventura County fairgrounds. He often entertained the tellers and other employees whenever he visited his local bank to make a deposit or withdrawal. Additionally, he spent his time painting and attended many gallery showings, even presenting his art in one-man shows. With his round, rubber-faced mastery of impressions (including ones of John Wayne, Cary Grant, Groucho Marx, James Cagney, and others) and improvisational comedy, Winters became a staple of late-night television with a career spanning more than six decades. He named James Thurber...

Red Grooms (American, b. 1937). Lithograph in colors on wove paper, 1993 "East of Canal Street, Corner of Canal." Published by the Brooklyn Museum (Reference: Red Grooms: The Grap...

Simon Bull, British (Born 1958) Hand Embellished Giclee on Canvas "Whisper" (white flower) Hand signed Lower Left, Numbered 283/350 on Obverse side. Measures 16" x 16" image, frame measures 24-1/8" x 24-1/8" Simon Bull (born in March 1958) is an English-born artist living in America. Early years and education. Simon Bull was born in Bedfordshire, England. The second of four children. His father, Ian Bull served as an officer in the Royal Army Chaplains’ Department of the British Army. Ian’s extensive military postings stationed the family around the world in Guyana, Hong Kong, Germany, and Northern Ireland. Simon went to boarding school in Yorkshire, attending Ripon Cathedral Choir School from 1965 to 1969 and in Surrey, at the Royal Russell School from 1969 to 1976. In 1976 he took a one-year Foundation course at Gloucestershire College of Art and Design and went on to graduate in 1980 from Leeds Polytechnic with a BA (Hons) degree in Fine Art. He studied printmaking and Fine Art under Norman Webster and Norman Ackroyd RA. His time at Leeds was marked by his interest in and study of the masters, such as Henri Fantin-Latour, Jean-Baptiste-Simeon Chardin, and Rembrandt; he wrote his dissertation on watercolorist John Sell Cotman. In his graduating year he exhibited his etching Jackie at the Royal Academy Summer Exhibition and his works were acquired by Leeds City Art Gallery. His art is currently represented exclusively, by his own company Simon Bull Studios of Carmel CA and MEUSE gallery on Carmel’s Ocean Avenue. Simon Bull Studios contracts with and supplies a network of fine art galleries around the world including Cutter & Cutter Fine Art, Park West Gallery and others. He has been represented in the UK by, London Contemporary Art and DeMontfort Fine Art; as well as in the USA with Media Arts Group. His worldwide licensing agent is Art Brands Group. In 2007 he was invited to create a series of paintings that celebrated the life of Muhammad Ali. Many of these works are now on permanent display in the Muhammad Ali Center in Louisville, Kentucky. He has spoken on behalf of the Muhammad Ali Center at the Vancouver Film Festival for the premiere of the movie Facing Ali. In 2009 he was commissioned to paint US President Barack Obama by boxing legend Muhammad Ali. His two joint portraits of Barack Obama and Muhammad Ali were unveiled at the Kentucky Bluegrass Ball on the eve of the Presidential Inauguration in Washington DC by actress Ashley Judd. He is the British equivalent of American Pop Art artist Peter Max, Brazilian Romero Britto and has showed with Alexander Chen, Alfred Gockel, Charles Fazzino, Leroy Neiman, Peter Max, Romero Britto and Sam Park. Bull received multiple National Association of Limited Edition Dealers awards for Graphic Print Lithograph of the Year. In 2003 he became the first British artist to win the NALED award for his print “The Journey Never Ends”, and again in 2004 for “Bird of Paradise”. He was also honored in 2004 with the NALED Medal of Honor. In 2002 he was selected along with fellow artists Thomas...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...

Orit Fuchs lives and works in Tel Aviv‭, ‬a storyteller with a deep‭, ‬pure, and unquenchable appetite for artistic self-expression‭. ‬Her medium spans the gamut‭ - ‬sculptures‭, ‬pa...