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Andre Von MorisseMeeting Andy Warhol, oil on canvas portrait, grisaille painting black and white2013
2013
$17,000
£12,906.11
€14,761.84
CA$23,751.47
A$26,416.81
CHF 13,794.04
MX$321,464.53
NOK 176,170.93
SEK 165,217.25
DKK 110,173.24
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TITLE: Meeting Warhol (The Inability of Meeting Someone Famous Objectively); 2013
This painting is part of a series of paintings from the series titled: The Inability of Meeting Someone Famous Objectively (2013).
This series of works deals with the psychology of celebrity, the illusion of realism in painting and its relationship to photography. The artist painted a black and white portrait of someone famous, gave it a "photo" look, so you think you are looking at a 'photographic' image of the actual person. Then, he uses the medium of painting without breaking the "photo illusion". On the painting he draws a symbol. The symbol has to relate to the celebrity most recognizable achievement. The result is a complete contradiction of form and space between the realistic image and the symbol. The illusion of reality in painting is like the illusion of objectivity in the real world. Just like meeting someone objectively, without the filter of who we are is impossible.
- Creator:Andre Von Morisse (1966, Norwegian)
- Creation Year:2013
- Dimensions:Height: 24 in (60.96 cm)Width: 22 in (55.88 cm)Depth: 1.5 in (3.81 cm)
- More Editions & Sizes:uniquePrice: $17,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Cody, WY
- Reference Number:1stDibs: LU2152211096702
Andre Von Morisse
ANDRE VON MORISSE (Norwegian, b. 1966 in Oslo, Norway, lives and works in the US) Von Morisse is a conceptual painter, interested in exploring aspects of human psychology and how we interact with the world. With his work End of a New Dawn, reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180), he was the Winner of the Best New Contemporary Artists Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway. End of a New Dawn explores relationship between painting and photography “reversing" the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process. Andre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated cum laude from the Art Center College of Design in Pasadena, CA and moved to New York in 1991. His works were featured in many group shows in galleries and museums in the US: Kunstnerenes Hus Oslo, Norway; The Gibbes Museum of Art, Charleston, SC; Mobile Museum of Art, Mobile, AL; Leigh Yawkey Woodson Art Museum, Wausau, WI; Museum of Southwest Texas, Midland, TX ; Art Museum of South Texas, Corpus Christi, TX. He had solo exhibitions with Silas Von Morisse Gallery (2016 & 2018), McKenzie Fine Art (2005 & 2003), and James Graham and Sons (2000, 1997) in New York, NY. His work was reviewed in: Artsy (2018), Artcritical (2018), Two Coats of Paint (2018), Artnet news (2017), The Vienna Psychoanalyst (2016), Photograph (2016), New York Times T Magazine (2014), ELLE Girl Japan (2014), Blouin Art Info (2014), Luxe Immo (2013), Art News (2007), The Morning News (2007), Art in America (2005), New York Magazine (2003), Artnet (2000), and Review (1997). His art has often been featured by Norway’s main dailies Aftenposten and VG, Kunst Art magazine (2013), as well as Norwegian-American newspaper & the Norway Times. Von Morisse’s paintings are held in prominent private and corporate collections in the US: Kemper Funds Art Collection, Zurich Kemper Investments, Chicago, IL; Nycomed, New York, NY; Ron Bailey (former Whitney Museum Trustee), James Cameron (director Avatar & Titanic), Renny Harlin, (director), to name a few.
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Von Morisse is a conceptual painter, interested in exploring aspects of human psychology and how we interact with the world. With his work End of a New Dawn, reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180), he was the Winner of the Best New Contemporary Artists Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway. End of a New Dawn explores relationship between painting and photography “reversing" the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process.
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