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Billy Al BengstonSweet Filthy Cheat (unique signed mixed media painting with artist studio label)2004
2004
About the Item
Billy Al Bengston
Sweet Filthy Cheat, 2004
Watercolor and acrylic on paper
Signed, dated and titled on the front
Frame included
Unique
This unique work, with it's charmingly sly title, is in excellent condition. Bears artist's studio label verso. Hand signed recto with a dateline of Venice, California. The legendary, late great Billy Al Bengston pioneered the use of industrial and spray paint techniques in his fine art painting and became known for works that created stunning, dazzling optical effects. He is represented in major public collections worldwide including MoMA, The Guggenheim Museum, the Whitney Museum and the Center Pompidou.
Measurements:
Framed:
13 x 11 x .8 inches
Artwork
10 x 8 inches
- Creator:Billy Al Bengston (1934, American)
- Creation Year:2004
- Dimensions:Height: 13 in (33.02 cm)Width: 11 in (27.94 cm)Depth: 0.8 in (2.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Ships in the artists frame from artists studio.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745211681812
Billy Al Bengston
Based in Venice, California, Billy Al Bengston burst onto the scene in the 1950s with his passion for motorcycle racing and art. Bengston was discharged from the California College of Arts and Crafts in 1955 for depleting the clay supply. Following this exit, he enrolled at the Otis Art Institute to study under Peter Voulkos whom he later named as a significant influence, along with Richard Diebenkorn. Bengston found immediate success in the Los Angeles art scene, enjoying multiple solo shows at Ferus Gallery and a 1968 exhibition at the Los Angeles County Museum of Art. His artistic output, mainly sculpture and painting, is informed by a variety of influences that range from his love of motorcycles and car-detailing techniques to recurring geometric shapes similar to those of Jasper Johns. Art historian Andrew Perchuck included Bengston among the "West Coast artists, including Robert Irwin and Ken Price, who were instrumental in redefining the terms of artistic identity in the early 60s by insisting that sub-cultural affinities and leisure-time activities (surfing, car customizing) were at the foundation of their artistic personas."
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