Robert Cottingham More Prints
American, b. 1935
Robert Cottingham is an American painter best known for his Photorealist depictions of cropped commercial signage. Born on September 26, 1935, in Brooklyn, NY, Cottingham studied at Pratt Institute. He received his BFA in 1963 before starting a five-year career in commercial advertising. Upon moving to Los Angeles, Cottingham seriously committed himself to his painting practice, which eventually subsumed his advertising career by 1968 as the artist rose to prominence along with the Photorealist movement.
Notably—though Cottingham is considered among the most prominent Photorealists of the latter half of the 20th century—he disavowed his relationship to the movement. Instead, he views his work as part of the lineage of vernacular Americana painters, including the likes of Stuart Davis and Edward Hopper. His work can be found in The Metropolitan Museum of Art collections in New York and the Smithsonian American Art Museum in Washington, D.C., among others.(Biography provided by Eckert Fine Art)
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Artist: Robert Cottingham
Roxy
By Robert Cottingham
Located in New York, NY
Color offset lithograph. Signed and numbered 2/100 in pencil by Cottingham.
This work is based on the same-titled color screenprint by Cottingham.
Category
Early 2000s Photorealist Robert Cottingham More Prints
Materials
Color, Lithograph, Offset
Hi Fi, from American Signs portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
HI FI, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins,
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009' a...
Category
Early 2000s Photorealist Robert Cottingham More Prints
Materials
Screen
Art, from American Signs portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Art, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins,
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009' and...
Category
Early 2000s Photorealist Robert Cottingham More Prints
Materials
Screen
Drinks, from American Signs portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Drinks, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009...
Category
Early 2000s Photorealist Robert Cottingham More Prints
Materials
Screen
Champagne, from American Signs portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Champagne, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2...
Category
Contemporary Robert Cottingham More Prints
Materials
Screen
Fox, from American Signs portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Fox, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009' a...
Category
Early 2000s American Modern Robert Cottingham More Prints
Materials
Screen
Hi, from American Signs Portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Hi, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009' an...
Category
Early 2000s Pop Art Robert Cottingham More Prints
Materials
Screen
Star, from American Signs Portfolio
By Robert Cottingham
Located in New York, NY
ROBERT COTTINGHAM
Star, from American Signs portfolio, 2009
screenprint in colors, on wove paper, with full margins,
40 1/8 x 39 1/8 in (101.9 x 99.4 cm)
signed, dated `2009' and numbered edition of 100 in pencil
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Robert Cottingham
B. 1935, BROOKLYN, NEW YORK
Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler.
Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising.
In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California.
In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...
Category
Early 2000s Photorealist Robert Cottingham More Prints
Materials
Screen
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Dream of William Burroughs (rare 1970s limited edition lithograph) for Earth Day
By Robert Rauschenberg
Located in New York, NY
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Dream of William Burroughs, 1972
Offset lithograph
34 1/2 × 24 inches
Edition 103/150
Signed, dated and numbered in black marker on the front
Unframed
Wonderful early 1970s print
Words appearing in a dream of William Burroughs
Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York
Signed and numbered 103/150 in black marker
This work is registered with the Robert Rauschenberg archives, reference number:
RRF 72.E001
Text reads:
THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET.
More information about this work from the Rauschenberg Foundation:
Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States.
Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.”
About Robert Rauschenberg:
Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.”
Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986.
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Robert Cottingham more prints for sale on 1stDibs.
Find a wide variety of authentic Robert Cottingham more prints available for sale on 1stDibs. If you’re browsing the collection of more prints to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of orange, purple and other colors. You can also browse by medium to find art by Robert Cottingham in screen print, lithograph, offset print and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the Photorealist style. Not every interior allows for large Robert Cottingham more prints, so small editions measuring 18 inches across are available. Customers who are interested in this artist might also find the work of and John Baeder. Robert Cottingham more prints prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,000 and tops out at $6,000, while the average work can sell for $6,000.