Miguel Angel Campano

Untitled

1987

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

James Siena "This is for Nadine", signed drawing, 2005 Original drawing done in black marker, bound in the title page of softcover PACE Gallery catalogue with stiff wraps hand signe...

Andrea Belag Beauty for Sale, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Unframed Pencil signed, dated and titled on the front; bears publisher name and copyright on the back Exquisite monotype; both gestural and minimalist. The title speaks for itself and defines the work. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

“I have been living in Berlin as a painter for 45 years and since then a lot of water has flowed down the Spree, many ‘big’ and little names, many art scenes, a lot of noise and lots of hope have come along. There was the great period of 1920-1933, when Berlin was a real and free art city, when the public still visited the exhibitions and the painters had not yet invented the publicity. There was the ’12th Reich’, which eliminated art. And there came the laborious new beginnings after 1945. When I was a beginner, around 1925, I plunged rather carelessly into the lively art scene: first exhibition in the then very turbulent jury-free show. In 1927, for the first time, I succeeded in conquering a wall space in the academy on Pariser Platz, where Liebermann led a strict regiment. Many young exhibitions were organized and critically acclaimed (Paul Westheim). Paul Cassirer showed three generations in two beautiful exhibitions, I was one of the youngest. My first collective exhibition was in the Galerie Möller in 1928, after which I received a master studio in the ‘Akademie der Künste’ for three years. In the printing workshop on the Steinplatz I learned the etchings on the same press, on which I still create the plates at our university today. This was followed by further exhibitions, again at Möller in 1931, etchings in the gallery Gurlitt in 1932, in the Szczecin Museum, whose director Riezler acquired several pictures that were destroyed during the Nazi era. The Kronprinzenpalais had also bought a picture and the Kupferstichkabinett some etchings. Everything went ahead, and then, with one hit, it was over. In 1934, all free, progressive exhibitions were closed and the associations liquidated (Künstlerbund, Sezession). The end of painting. I learned ceramics and painted tiles and tiled stoves; The war...

“I have been living in Berlin as a painter for 45 years and since then a lot of water has flowed down the Spree, many ‘big’ and little names, many art scenes, a lot of noise and lots of hope have come along. There was the great period of 1920-1933, when Berlin was a real and free art city, when the public still visited the exhibitions and the painters had not yet invented the publicity. There was the ’12th Reich’, which eliminated art. And there came the laborious new beginnings after 1945. When I was a beginner, around 1925, I plunged rather carelessly into the lively art scene: first exhibition in the then very turbulent jury-free show. In 1927, for the first time, I succeeded in conquering a wall space in the academy on Pariser Platz, where Liebermann led a strict regiment. Many young exhibitions were organized and critically acclaimed (Paul Westheim). Paul Cassirer showed three generations in two beautiful exhibitions, I was one of the youngest. My first collective exhibition was in the Galerie Möller in 1928, after which I received a master studio in the ‘Akademie der Künste’ for three years. In the printing workshop on the Steinplatz I learned the etchings on the same press, on which I still create the plates at our university today. This was followed by further exhibitions, again at Möller in 1931, etchings in the gallery Gurlitt in 1932, in the Szczecin Museum, whose director Riezler acquired several pictures that were destroyed during the Nazi era. The Kronprinzenpalais had also bought a picture and the Kupferstichkabinett some etchings. Everything went ahead, and then, with one hit, it was over. In 1934, all free, progressive exhibitions were closed and the associations liquidated (Künstlerbund, Sezession). The end of painting. I learned ceramics and painted tiles and tiled stoves; The war...

Robert Motherwell (1915-1991) is one of the essential American abstract painters that radically defined post-war abstraction in New York City. Today, his work appears in museum collections around the world and is instantly recognizable for its boldness and black forms. His auction record was set in 2018 at $12.6 million USD. In addition to his impressive paintings, Motherwell is also revered as one of the most innovative and prolific printmakers of the 20th century. He was always searching for new techniques, whether at his own printmaking atelier, or collaborating with others, to expand his ideas and express his aesthetic. Created in 1980, "Paris Suite...