Art by Medium: Enamel

Damien Hirst (British, born 1965) Sitting Across from Somebody (The Currency), 2016 Medium: Enamel paint on handmade paper Dimensions: 20 x 30 cm (7.8 x 11.8 in) Series: Unique varia...

Damien Hirst (British, born 1965) And you know it? (The Currency), 2016 Medium: Enamel paint on handmade paper Dimensions: 20 x 30 cm (7.8 x 11.8 in) Series: Unique variant from The...

A unique and vivid abstract / surreal landscape painting on stretched canvas. Created with poured enamel and oil paint with vivid grasslands and fading hills in the background. Ready...

DAMIEN HIRST - THE CURRENCY: 6274. NOBODY SHOULD HEAR IT Date of creation: 2016 Medium: Enamel paint on handmade paper Edition: 5.149 unique works on paper Size: 21.5 x 30 cm Conditi...

A painting in abstract enamel is an explosion of shapes, textures, and colors that invite personal interpretation. Across the canvas, dynamic and free brushstrokes intertwine, creati...

Niki de Saint Phalle Brooch (Oiseau), ca. 2005 Zamak, gold tone finished, nickel free (Incised Signature) Incised signature on the back of the jewelry (Niki De Saint Phalle) and the ...

Contemporary pop art inspired pixelated abstraction of Polish artist Tamara de Lempicka's painting 'Young Lady with Gloves.' Similar to pointillism, the individual hand-painted block...

Judy Chicago Cloisonne Brooch of Hildegard of Bingen from The Dinner Party, 1987 Limited Edition Cloisonne brooch/pin with clasp on the back and Judy ...

The unmistakable silhouette of a moose—one of Canada’s iconic images is celebrated in this sculpture by Charlie Pachter. As a little boy, pop artist Pa...

Pink and orange abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

Title: Landscape Year: 2024 Technique: mixed media on Cotton Canvas 100x105 cm Description: This original work by Marilina Marchica explores the relationship between man, nature...

The piece is part of a series loosely based on figurines I have come across in vintage shops, the figures often being moulded in one with the base, I thought it would be fun to do on...

This piece is part of an ongoing series exploring the use of space, composition and keeping it relatively unfussy. The use of that space then dictates the shape of the animal. I woul...

This experimental painting entitled “Faster! Faster!” by Chicago artist Patrick Fitzgerald continues his series of abstract “track paintings,” initially born as the imagined racetrac...

Title: PaperLandscape Artist: Marilina Marchica Year: 2025 Dimensions: 116X89 cm Technique: Mixed media ( paper collage and paint) Description: An original artwork representing a min...

A large scale, unique and vivid surreal oil painting on stretched canvas, depicting four nude female figures. Ready to hang. Framing on request

[New Orleans, LA ::: b.1987 - New Orleans, LA] BONNIE MAYGARDEN is a multimedia artist who received her MFA in Studio Arts from Tulane University. She attended Pratt Institute in Ne...

Traces signs on wall time memories on the wall mixed media on canvas 2018 Original Created:2018 Subjects:Architecture Materials:Canvas Styles:Abstract #Abstract Expressionism #Minim...

The work was created with enamel and pastel on canvas; it is signed and archived by the Schifano Archive

Roger Phillips Kinetic Sculpture Painted iron and aluminum on walnut plinth base 44 1/2 inches high x 13 inches wide x 7 3/4 inches deep oger Phillips was born in New York City in ...

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and politics. His work is more about shining a small light into some of those dark corners of society then standing back and watching reactions and opinions. his work combines humor, irony, criticism and unique opinion to create art that engages on many levels. This sculptural work is available as signed Artist Proof (AP) 1 of 1 - the limited edition of 3 have now sold. This is a fully working electric guitar and can be plugged into an amp and played - a video with Dave Navarro playing melted guitar on you tube...

The orange areas interlace with the red, conveying a sense of warmth and enthusiasm, as if the sun were in constant explosion. These tones ignite the spark of emotion in the artwork....

Original wall sculpture multiple by famed American Pop Artist, Mel Ramos (1935 - 2018). It is hand-signed and numbered in marker from the edition of only 35. Artist: Mel Ramos, Ame...

Victor Vasarely (1908-1997) Axo This piece is hand signed and numbered circa 1972-1977 I have seen it described as enamel on steel and enamel on aluminium. it is a serigraph on meta...

PaperLandscape mixed media and collage on juta canvas 50x50 2017 the painting is part of the Paper Landscape series I like to call them fragile landscapes the title PaperLandscape,...

Green and blue abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is a...

Peter D. Cole (Australian, b. 1947) Symbols of Landscape, 1987 Mixed metal, enamel and marble signed P.D. Cole and dated 21 x 6 1/2 x 6 in (53 x 16.5 x 15cm) Provenance: Macquarie Galleries, Sydney, Australia, 1987. Sculptor Peter D. Cole was born in Gawler, South Australia and trained at the South Australian School of Art between 1965 and 1968. Since the 1980’s Cole has been based in the Kyneton District of Victoria, where he has established himself as one of Australia’s senior and most renowned contemporary sculptors, drawing on the landscape as a source of inspiration and recent research trips to Japan and India have added to his rich source material. As a public artist, Cole has made a significant contribution to the urban landscape and public spaces of Australia receiving the Australian National Trust Heritage Award and the Australian Institute of Landscape Architecture Award of Merit for Foundation Park, a permanent work at The Rocks, Sydney. He is highly sought for commissions and his work is prominent in many public and corporate collections throughout Australia, including Parliament House, Canberra, the National Gallery of Australia, and Brisbane International Airport and recently Windsor Railway Station precinct. He was awarded the H.P. Gill medal for top student and the Contemporary arts Society award for drawing in 1968 and has exhibited regularly since 1969 with exhibitions in Australia and America, with notably a solo exhibition in 1995 at The Carpenter Centre, Harvard University USA. Peter D. Cole ranks as one of Australia's senior and most renowned contemporary sculptors. Graphic, minimalist and refined, his uncompromising aesthetic vision encompasses both large-scale structures, aerial works, and more intimate, witty ruminations. An accomplished water-colourist and draughtsman, Cole's vision translates easily into works on paper, valued by collectors for the insight they provide into his practice. Cole's robust materials- brass, bronze, painted steel and aluminium- vibrant colours and precise shapes articulate spatial, intellectual, and philosophical concepts. He is also interested in the notion of 'diagrammatic' landscapes, ones that express the transition between the flat plains of the Australian bush, and a more city-centric urban cacophony. Cole's work observes and recognises the boundaries of modern life without limiting its scale, or its scope. Cole is the recipient of the Australian National Trust Heritage Award (1996), the Australian Institute of Landscape Architecture Award of Merit (1995), and is highly sought for commissions. His work is prominent in many public and corporate collections throughout Australia, including Parliament House, Canberra, the National Gallery of Australia, and Brisbane International Airport. Hs work bears similarities to Peter Shire, Charlie Hewitt and Brad Howe. Cole lectured in sculpture between 1975 and 2001 and has worked continuously on his practice encompassing sculpture, painting, drawing, printmaking, design and architecture. His work is represented in many collections both private and public throughout Australia, America, Japan and Europe. SOLO EXHIBITIONS 2017 A Modern Narrative, Australian Galleries, Sydney 2016 PLACE AND SPACE, Australian Galleries, Melbourne 2013 Australian Galleries, Roylston Street, Sydney 2012 Lister Gallery, Perth 2011 New Sculptures, John Buckley Gallery, Melbourne 2006 New works, Australian Galleries Painting & Sculpture, Sydney 2004 Primary Structure, Calder Lister Gallery, Perth 1997 Steele Gallery, New York, USA 1995 Carpenter Centre for the Visual Arts, Harvard University, Massachusetts, USA 1990 William Mora Gallery, Melbourne SELECTED GROUP EXHIBITIONS 2021 This is Gippsland, with works by Sidney Nolan, John Wolseley, Anne Montgomery Trevor Vickers, Ann Greenwood, Tony Newsom, Peter Cole, Nick Mount, John Woollard, Cheryl Burgess, Kiyoshi Ino and more. 2019. Australian Galleries: The Purves Family Business. The First Four Decades, Book Launch and Group Exhibition, Australian Galleries, Melbourne 2019. papermade, Australian Galleries, Melbourne 2017. Painting, sculpture and works on paper – Group exhibition, Australian Galleries, Melbourne 2017. Sculpture: medium and small scale – Mixed Sculptors, Australian Galleries, Sydney 2016. Impressions, Australian Print Workshop, Melbourne 2014. one of each, Australian Galleries, Derby Street, Melbourne 2011. large exhibition of small works, Australian Galleries, Roylston Street, Sydney 2006. Stock Show, Australian Galleries Painting & Sculpture, Melbourne 2005. End of Year Group Exhibition, Australian Galleries Painting & Sculpture, Sydney 2003. This was the future: Australian Sculpture of the 1950s, 60s, 70s + Today, Heide Museum of Modern Art, 2002. Tokyo Designers Block Idee, Tokyo, Japan PUBLIC COMMISSIONS Arts Victoria; Shepparton lake sculpture, Shepparton VIC 19 October 2019 Bank of Melbourne; in consultation with Bates Smart McCutcheon; large freestanding sculptural screen, Melbourne Brisbane International Airport; in consultation with Bligh Voller architects and Jean Battersby Art Consultants; large suspended sculptures...

Enamel on four wood panels Signed, titled, and dated, verso 12 x 12 inches, each These paintings are offered by ClampArt, located in New York City. About the artist: Julia Jacquette...

Orange and green abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is...

A unique and vivid oil painting on on board with an integrated wooden frame.

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 1957. Before becoming an artist in 2012 Hewes worked in the building trades for 40 years and often uses the skills learned from his tradesman work within his artwork. Hewes paints in the Action/Drip style, even building his own spinning table...

Artist: Francesco Scavullo, American (1921 - 2004) Title: Elizabeth Taylor Year: 1983 Medium: Photo-Silkscreen and Enamel on Canvas, signed verso ...

Landscape Mixed media on canvas 100x100 cm Original Art certificate of authenticity

Mid 20th Century sgraffito work on plaster by Jean Pierre de Cayeux. The work is signed and dated on the skirt of the card player, bottom right, and on the stretcher of the chair, bo...

Green and white abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

Title: PaperLandscape Artist: Marilina Marchica Year: 2024 Dimensions: 50x70 cm Technique: Mixed media (handmade paper collage and paint) Description: An original artwork representin...

Blue and red abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is a r...

Mario Schifano (Khoms, Libya, 1934 – Rome, Italy, 1998) Title: Untitled (perhaps “The House”) Medium: Enamel and acrylic on canvas Year: 1990 Dimensions: 100 x 100 x 4 cm Signed “Sch...

Alcune lettere respinte al mittente  is an artwork realized in 1987 by Gianfranco Baruchello . Mixed media on paper (China ink and enamel on cardboard). Hand-signed and dated on the...

PaperLandscape# mixed media and collage on canvas cm 116x89 2016 “My research is closely linked to the relationship between people and nature, memory and time. The landscape is the p...

Abstract expressionist painting in the style of Gerhard Richter in a blue, teal, and green palette with accents of peach, yellow, and pink "Absorbed in Brilliance", made by Bruce Mur...

Blue, Pink, and white abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The wo...

A painting in abstract enamel is an explosion of shapes, textures, and colors that invite personal interpretation. Across the canvas, dynamic and free brushstrokes intertwine, creati...

LANDSCAPE enamel on canvas 70x100 cm 2018 ORIGINAL ART READY TO HANG stretched on a wooden frame signed on the back with certificate of authenticity

Traces signs on wall time memories on the wall mixed media on canvas 2018 Original Created:2018 Subjects:Architecture Materials:Canvas Styles:Abstract #Abstract Expressionism #Minim...

Green and white abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

Roger Phillips Kinetic Sculpture Painted iron and aluminum on walnut plinth base 44 1/2 inches high x 13 inches wide x 7 3/4 inches deep oger Phillips was born in New York City in ...

Landscape mixed media on canvas 50x50 cm Original Art Ready to Hang her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace, thr...

A unique and vivid abstract/ surreal landscape painting on stretched canvas. Ready to hang. Framing on request.

We are please to announce that we are now representing the Pop Art cowboy and cowgirl paintings of the artist Matt Straub. We at the gallery have been exc...

Bisque bust with ploychrome enamel decorated with painted gilt and raised on a circular socle with a square plinth. After Albert-Ernest Carrier-Belleuse by Ferdinand and Bing Co. an ...

Artist: Okuda San Miguel Title: Face III Medium: Synthetic enamel on wood Size: 27.6 x 27.6 inches (70 x 70 cm) Year: 2020 Notes: Hand Signed. Custom Framed. Original COA Included. ...

Landscape mixed media on canvas 50x50 cm original Art her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace, through the strip...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

The color palette is intense and overflowing, with brushstrokes intertwining in a chaotic dance of vibrant tones. Fiery reds, electric blues, and effervescent yellows merge into a vi...

There is a metaphorical interplay between the natural imagery international artist, Jennyfer Stratman, uses and its multiple meanings. While the human figure features strongly, it is the essence of the body that is important to her, not the representation. Particularly, the artist imagines trees and branches as a figurative link between the natural environment and our physical presence. The implied internal landscape of the body can also be reflected in how our surroundings from birth affect our sense of identity. By exploring landscapes of the body and mind, she also hopes to comment on the larger picture of our impact on the natural world. This exquisite bronze sculpture is meant to be installed as a wall hanging that sits 3 inches away from the wall. The sculpture and its many pieces can be installed and displayed in several arrangements. As displayed, this sculpture measures 77 inches high and 58 inches wide. It is signed by Stratman on the front. Free local Los Angeles delivery and installation. Affordable Continental U.S. and International shipping available. A certificate of authenticity issued by the art gallery is included. Stratman grew up in Phoenix, Arizona. In 1992 she commenced her studies at Arizona State University majoring in visual arts and art education. Stratman entered academia as a ceramicist. With each passing semester, the scale of her creations expanded and the material limitations of working with clay ultimately led her to the university foundry. This opened a door into another world of creative possibilities, profoundly changing her artistic direction. She replaced fired clay with larger-scale bronze, steel, and mixed media sculptures yet retained a delicacy, intimacy, and intricacy imbued from the ceramic process. Today she is a full-time established artist with studios operating in Phoenix, Arizona and Melbourne, Australia. Her time is divided between the two countries with each location informing and influencing the creative process. She has exhibited in 31 solo exhibitions and over 100 group exhibitions nationally and internationally. Her indoor and outdoor sculptures are held in public and private collections in countries including the United States, Australia, Canada, Hong Kong, Singapore, Taiwan, Israel, England, and Europe. Artplex Gallery has been representing and exhibiting Jennyfer Stratman's original artworks in Los Angeles since 2021, presenting her impressive works to an international collector base around the globe. The gallery has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a well-curated selection of original artworks beyond the ordinary from established and emerging international artists with diverse backgrounds at high standards. Artplex Gallery is known to provide accurate descriptions, images, reliable services, communication, and delivery. The gallery's commitment to customer satisfaction means that clients can invest in art with confidence, knowing they have a reputable and established art gallery backing their acquisition. Artplex Gallery prioritizes our clients' peace of mind by ensuring a seamless and worry-free art-buying experience. REPRESENTATION Artplex Gallery, Los Angeles, USA SOLO EXHIBITIONS 2023 Solo Exhibition, Grace Renee Gallery, Carefree, Arizona 2021 “Natural Connections”, Manyung Gallery, Melbourne, Australia 2020 “Celestial Forms”, Manyung Gallery, Melbourne, Australia 2019 “Solo Exhibition”, Grace Renee Gallery, Carefree, AZ 2018 “The Etheral Garden”, Manyung Gallery, Melbourne, Australia “The Gravity Between Us”, Calvin Charles Gallery, Scottsdale, AZ 2017 “Tree Within Me”, Avran Fine Art, Laguna, CA 2016 “Constellation”, Manyung Gallery, Melbourne, Australia “Cultivating The Wild”, Calvin Charles Gallery, Scottsdale, AZ 2015 “Connection”, Mirada Fine Art, Denver, CO “Transformation”, Contemporary Fine Arts Gallery, La Jolla, CA 2014 “Cultivating Memory”, Michele Mariaud Gallery, NYC “Connected Elements”, Calvin Charles Gallery, Scottsdale AZ 2013 “Interconnection”, Contemporary Fine Arts Gallery, La Jolla, CA 2012 “Internal Landscapes”, Mirada Fine Art, Denver, CO 2011 “Reflective Landscapes”, Stockroom, Kyneton, Australia “Propagated Reflections”, Calvin Charles Gallery, Scottsdale,AZ 2010 “Hybrid”, GF Contemporary, Santa Fe, NM GROUP EXHIBITIONS 2023 Nature Art Soiree, Manyung Gallery, Melbourne Australia Affordable Art Fair Sydney, Manyung Gallery, Sydney Australia 2022 Affordable Art Fair Melbourne, Manyung Gallery, Melbourne, Australia CHAOS Theory 22, Legend City Studios, Pheonix, Arizona Endings And Beginnings, Modified Arts, Pheonix, Arizona Skies of Fruitful Nights, Artplex Gallery, Los Angeles, California 2021 Every Artist Ever Ten Year Anniversary Show, Stockroom Gallery, Melbourne, Australia CHAOS Theory 21, Legend City Studios, Pheonix, Arizona 2020 Affordable Online Art Fair, Manyung Gallery, Worldwide 2019 Portland on the Park Collection Exhibition, Phoenix, Arizona CHAOS Theory 20, Legend City Studios, Phoenix, Arizona Loreto Spring Art, Marryatville, South Australia Toorak Village Festival of Sculpture, Melbourne, Australia 2018 Carmody Foundation Grant Recipient, Phoenix, Arizona CHAOS Theory 19, Legend City Studios, Phoenix, Arizona Affordable Art Fair Hong Kong, with TAG Fine Arts, Hong Kong Toorak Village Festival of Sculpture 2018, Toorak, Victoria Affordable Art Fair New York, with TAG Fine Arts, New York Battersea Art Fair, TAG Fine Arts, London, England 2017 Affordable Art Fair Singapore, TAG Fine Arts, Singapore Choice Cuts, The Lodge Art...

Cityscape mixed media on Cavas 70x100 cm Original Art Ready to Hang Architecture Category Painting Year 2013 Mediums, Materials, Styles Mediums Enamel, Oil, Gesso Materials Canvas ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

White Landscape mixed media on canvas 50x50 cm 2019 original Artwork Ready to Hang My painting tells of the relationship between man, nature and time, the landscape, the sign a...

Worn like a bolo tie around the neck. This is new old stock vintage Jewelry from the legendary Acme Studio collection, which created many revolutionary jewelry items. It was handmade in the 1980s using the intricate cloisonné process, an ancient technique for decorating metal; hence any imperfections within the colors are to be expected and inherent which makes it unique and one-of-a-kind. The Memphis...

PAPERLANDSCAPE Original Art Ready to Hang 80x80x2 cm certificate of authenticity original painting one of a kind by Marilina Marchica ready to hang

A large, dramatic abstract oil painting by Contemporary artist Bill Hewes. William (Bill) Hewes is an American self-taught artist. Hewes was born in Easthampton, Massachusetts in 19...

Landscape mixed media on canvas 50x50 cm original Art her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace, through the strip...

Title: Landscape Year: 2024 Technique: mixed media on Cotton Canvas 100x105 cm Description: This original work by Marilina Marchica explores the relationship between man, nature...

The color palette is intense and overflowing, with brushstrokes intertwining in a chaotic dance of vibrant tones. Fiery reds, electric blues, and effervescent yellows merge into a vi...

Landscape mixed media on canvas 50x50 cm Original Art Ready to Hang her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace, thr...

Ross Tamlin's unique photorealistic compositions merge traditional painting methods with modern industrial techniques to create captivating works of art. Using layers of oil and enamel paint, Tamlin creates an illusion of corrugation that adds depth and texture to his pieces. His use of industrial imagery and found objects is a nod to contemporary art, while his bold color palette and incorporation of text is a nod to the Pop Art movement. Tamlin created this one-of-a-kind, vibrant, and colorful painting measuring 42 inches high by 36 inches wide and 1.25 inches deep with oil and enamel paint on canvas. The sides of the canvas are painted in a continuation of the front eliminating the need for framing. In addition to being signed by the artist on the front, the artwork also comes with a certificate of authenticity issued by the art gallery. The certificate guarantees the authenticity and provenance of the artwork. Free delivery is available for those in the local Los Angeles area. Affordable worldwide shipping is available for U.S. and international art collectors. In this artwork, Tamlin reworks the traditional idea of landscape painting by incorporating text and familiar places' names, such as California destinations, painted in large letters over the colorful photorealistic painted corrugated metal. This photorealistic painting by Ross Tamlin is so expertly executed that it perfectly mimics the texture and appearance of corrugated metal, even when seen in person. However, upon much closer inspection from the side at a nearly 90-degree angle, the levelness of the canvas is revealed, allowing you to appreciate the skillful brushwork of oil and enamel paint that gives the amazing illusion of depth and texture. With meticulous attention to detail, Tamlin imparts extraordinary depth to the painting, creating a finish that emulates the shine of polished metal and further enhances the piece's realistic appearance. This original artwork stands as a testament to Tamlin's remarkable talent and precision, demonstrated through the inclusion of even the smallest details, such as the masterfully painted rusty rivet holes. Tamlin's works are represented by Artspace Warehouse Los Angeles and are held in private collections worldwide, including Australia, New Zealand, the United Kingdom, Hong Kong, Singapore, the USA, Switzerland, and France. Corporate collections include ING Bank, Babcock & Brown, Barclays Bank, Saville Hotel Group, Savills Property Group, Minter Ellison, Hai Win Shipping, Allkotes Pty Ltd, Blue Scope Steel Pty Ltd, Sieper & Co., A. P. Moller Maersk Group, Grant Thomas Management, Maridan Pty Ltd, Esprit Changeware Pty Ltd, Maritime Transport Ltd, London. REPRESENTATION Artspace Warehouse, Los Angeles, CA EDUCATION 1979 – 1981 NZ Certificate of Town Planning (3 Years) 1982 Emigrated to Australia, 1989 Australian citizenship 1985 Fine Arts Certificate (Meadowbank) (not completed) 1987 Graphic Arts Certificate, Brisbane 1988 – 1997 Paint/Colour Laboratory Technician SOLO EXHIBITIONS 2014 Soho Galleries, Sydney, Australia 2013 Soho Galleries, Sydney, Australia 2012 Paintbox Fineart, Canberra, ACT, “Melange” 2011 Jackman Gallery, St. Kilda, Melbourne, Australia 2010 Harrison Gallery, Paddington, Australia 2008 Rushcutters Bay Gallery, Sydney, Australia 2007 Paintbox Gallery, Braddon, Canberra, Australia 2007 Rushcutters Bay Gallery, Sydney, Australia 2006 Rushcutters Bay Gallery, Sydney, Australia 2005 Rushcutters Bay Gallery, Sydney, Australia 2005 Paintbox Gallery, Braddon, Canberra, Australia 2004 Rushcutters Bay Gallery, Sydney, Australia 2003 Rushcutters Bay Gallery, Sydney, Australia 2002 Rushcutters Bay Gallery, Sydney, Australia 2001 1+2 Artists Studio Gallery, Rozelle 2000 New Aesthetix Gallery, Camperdown, Sydney, Australia GROUP EXHIBITIONS 2024 Affordable Art Fair, New York, NY 2023 Artspace Warehouse, Los Angeles, CA 2021 “Urban Thoughts”, Artspace Warehouse, Los Angeles, CA 2021 Affordable Art Fair New York 2019 Affordable Art Fair Hong Kong 2019 Artspace Warehouse, Los Angeles, CA 2019 Affordable Art Fair New York 2019 Palm Springs Fine Art Fair, Palm Springs, CA 2018 AAF Hong Kong 2018 New York AAF, NY, USA 2018 Morris Art Prize; Gold Coast, Queensland 2018 Art Palm Springs Fine Art Fair, California 2017 SOHO Galleries, Sydney, group exhibitions 2017 Gallery Beneath, Moolloolaba, Queensland, group show 2017 Whistler Contemporary Gallery, Whistler, BC, Canada 2017 Artspace Warehouse Gallery, Los Angeles, USA 2017 AAF New York, NY, USA 2017 AAF Battersea, London, UK 2017 Palm Springs Art Fair, Palm Springs, California USA, represented by Artspace Warehouse 2016 Stockholm AAF 2016, Sweden, represented by Retrospect Planet 2016 Artspace Warehouse Gallery, Los Angeles, USA 2016 Kunstwarenhaus Gallery, Zurich, Switzerland 2016 SOHO Galleries, Sydney, NSW, Australia 2016 Art Hamptons, represented by Artspace Warehouse LA 2016 AAF Hong Kong 2016 New York AAF, USA, represented by Artspace Warehouse LA 2016 Asia Contemporary, Hong Kong 2016 Palm Springs Fine Art Fair, USA, represented by 2016 Artspace Warehouse 2016 Whistler Contemporary Gallery, Whistler, Canada 2016 Caldera Art Exhibition, Murwillumbah, Northern NSW 2015 AAF Singapore 2015 Artspace Warehouse, Los Angeles, USA 2015 Palm Springs Fine Art Fair, USA, represented by 2015 Artspace Warehouse 2015 London AAF, Battersea, March, represented by 2015 Retrospect Planet 2015 Asian Contemporary, Hong Kong, March, represented by Retrospect Planet 2015 New York AAF, USA, represented by Artspace Warehouse LA 2015 Hong Kong AAF, May, represented by Retrospect Planet 2015 Kunstwarenhaus Gallery, Zurich, Switzerland 2015 Lethbridge Gallery, Paddington, Brisbane 2015 Stockholm AAF 2015, Sweden represented by Retrospect Planet 2015 Group Show SOHO Galleries, “Realism” Sydney, NSW 2015 Singapore AAF 2015 Hamburg AAF, Germany 2015 Mosman Art Prize, Sydney, 2014 Brussels AAF, Belgium, represented by Retrospect Planet 2014 Milan AAF, Italy, represented by Retrospect Planet 2014 London AAF, UK, represented by Retrospect Planet 2014 Hong Kong AAF; represented by Retrospect Planet 2014 Asian Contemporary (Hong Kong) 2014 Singapore AAF (May) 2014 Stockholm AAF, Sweden (October) 2014 Amsterdam AAF, Netherlands 2014 Hamburg AAF, Germany 2014 Singapore AAF, Singapore 2014 Northern Rivers Kyogle Pop Up exhibition (November) 2014 Soho Galleries, Xmas group exhibition 2013 Brussels AAF, Belgium, represented by Retrospect Planet 2013 Milan AAF, Italy, represented by Retrospect Planet 2013 Hong Kong AAF, Hong Kong, represented by Retrospect Planet 2013 Asian Contemporary Art Show,JW Marriott Hotel, Hong Kong 2013 Melbourne Art Fair, represented by Manyung Gallery, 2013 A Book about Death (international travelling art show) Tweed Art Gallery, Murwillumbah, NSW 2013 Hong Kong Contemporary Art Show, Marriott Hotel, Hong Kong 2013 Stockholm AAF, Stockholm, Sweden 2013 Amsterdam AAF, Amsterdam, Holland 2013 Hamburg AAF , Hamburg, Germany 2013 Singapore AAF, Singapore 2013 Seattle AAF, Seattle, USA, represented by Manyung Gallery 2013 Whistler Village Art Gallery, Whistler, BC, Canada 2012 Redsea Gallery,Group Exhibition, Brisbane 2012 Toowoomba Grammar School Art Show, Toowoomba, QLD 2012 Brussels AAF, Belgium, represented by Retrospect Gallery 2012 New York AAF, New York, USA 2012 Envie D’Art, Paris, France & London UK 2012 Art Melbourne AAF, Melbourne 2012 Hamptons Art Fair, July, New York, USA 2012 Wilson Art Prize, Lismore, Northern NSW 2012 Shanghai Art Fair, China, October 2012 Toronto International Art Fair, Canada 2012 Singapore Affordable Art Fair, represented by Retrospect Gallery 2012 Hamburg Affordable Art Fair, Germany 2012 Border Art Prize, Tweed River Art Gallery, Murwillumbah, NSW 2012 Whistler Village Art Gallery, Whistler, British Columbia, Canada 2011 Redsea Gallery Brisbane 2011 Traffic Jam Gallery, Sydney 2011 Manyung Gallery, Sorrento & Portsea, Mornington Peninsula, Victoria 2011 Baldarchy 2011 2011 A Royal Exhibition,Newcastle, Harrison Galleries in conjunction with Mirvac Residential 2011 Art Melbourne 2011 2011 Retrospect Gallery, Gold Coast,QLD “Fusions” 2011 Brisbane Rotary Art Spectacular Show 2011 Mission to Seafarers Victoria, ANL Maritime Art Prize Show, Melbourne, Victoria 2011 London Art Show ,Battersea, UK 2011 Singapore Art Show, represented by Retrospect Gallery 2011 Balmain Art & Craft Show, Sydney 2010 Art Melbourne 2010 2010 Retrospect Gallery, Byron Bay, NSW 2010 Manyung Gallery, Mt Eliza, Victoria 2010 Paintbox Gallery, Canberra, ACT “Contained” 2010 Gallery Beneath, Mooloolaba, Sunshine Coast, Queensland 2010 Manyung Sorrento Gallery, Mornigton, Victoria 2009 Art Melbourne 09 2009 Retrospect Gallery, Byron Bay, NSW 2009 Manyung Gallery, Mt. Eliza, Victoria 2009 ANL Mission to Seafarers Art Prize 2009 Art Sydney 09 2009 Balmain Art & Craft Show 2008 Stanthorpe Art Prize 08, Queensland 2008 Art Melbourne 08 2008 Art Brisbane 08 2008 Gallery Schubert, Gold Coast, QLD 2008 Art Sydney 08 2008 Manyung Gallery,Mt Eliza,Victoria 2007 Roxy Gallery, Kyogle, He-art Group Show, Northern NSW 2007 Paintbox Gallery, Fulham, London, UK 2007 Melbourne Affordable Art Show 2007 Cape Gallery, Byron Bay, Northern NSW 2007 Art Sydney 07 2006 Melbourne Affordable Art Show, Royal Exhibition Building, Carlton, VIC 2006 Art Sydney 06, RHI and Horden Pavillion, Sydney 2006 “Australia Calling” Dulwich art fair, London, UK 2006 Bentley Art Show, Northern Rivers NSW 2006 Austrade International Global promotion package 2006 London Autumn Art Fair, London, UK 2006 Art Ireland 06 2006 Balmain Art Show, Sydney 2006 Signature of Sydney 2005 Paintbox Gallery, Braddon, Canberra, ACT 2005 Melbourne Affordable Art Show, Royal Exhibition Building, Carlton, VIC 2005 Gallery New Quay, Docklands, Melbourne, VIC 2005 ArtwithHeart, Fine Art Charity Exhibition and Auction, Docklands, Melbourne, VIC 2005 Bruce Wattling Gallery, Newstead, Brisbane, QLD 2005 Bentley Art Show, Northern Rivers NSW 2005 Art Sydney 05, RHI and Horden Pavillion, Sydney 2005 Balmain Art Show, Sydney 2005 Shanghai Biennale,China,represented by Rushcutters Bay gallery 2004 Stanthorpe Arts Festival, Stanthorpe, QLD 2004 Nimbin Autumn Show, Northern NSW 2004 Cape Byron Gallery,Byron Bay, Northern NSW 2004 Melbourne Affordable Art Show,Royal Exhibition Building, Carlton, VIC 2004 Sydney Affordable Art Show, Fox Studios, Sydney 2004 Balmain Art & Craft Show, Sydney 2004 Redhill Gallery, Brisbane, QLD 2004 Emporium Gallery, Brisbane, QLD 2003 Frances Keevil Group Show, White City Tennis Club, Sydney 2003 Sydney Affordable Art Show, Fox Studios 2003 Balmain Art & Craft Show, Sydney 2003 “New Faces-Fresh Paint #3. Made From Australia Galleries...

🔸 _Title: Paths of Memory 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 200 x 160 cm 🔸 _Medium: Acrylic, Enamel, Oil Pastel, ...

Mat Tomezsko's "NOW" series of mixed media street art paintings are built through an elaborate process of layering, patterning, adding, and subtracting an...

Sanseviero's metal sculptures fool the eye. His "illusion sculptures" are amazingly only 1/16th of an inch thick and yet they appear to be 3 dimensional boxes with open centers that are stacked on top of each other. I have included a side view so that you can see how thin this illusion sculpture is. He first designs how the formation of "Boxes" will layout and then hand cuts the shape he has just designed. He then welds the flat sculpture...

Blue and orange abstract contemporary circular painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement: The work is ...

"Wanderer's Pizza" is an original paper, enamel, pastel, inkjet prints, chain, wire, and tubing artwork by Drew Leshko measuring approx. 11.5"h x 7.25"w x 0.75"d. Drew Leshko is a P...

"JAMÓN JAMÓN I (Reliquary Generalife)", 2019, sold in the frame shown, is one in a series of ceramic sculptures by artist Andrew Cornell Robinson...