Damien Hirst

Gold Tears

2012

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 -- 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...

Blue Sonica Whisper

Untitled (Flag), 2013 Archival pigment print 26 1/4 × 43 in (66.7 × 109.2 cm) Edition of 36

Andy Warhol Flowers (FS II.70), 1970 silkscreen on paper 36 x 36" ed. of 250 signed in ball point pen and numbered with a rubber stamp on verso

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. 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...

Patrick Lichty Techspressionist Still Life 1 2021 Archival pigment print paper size 24 x 24 inches image size 20 x 20 inches Signed and numbered edition of 10 with certificate of au...

CocaXploid 2019 From “Coca-Cola Series” project CM 90x120x2,8 Print run 6+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 ink, ple...

GOLDEN PLEASURE 2019 From “Sexy Golden fruit" project Measurement: CM 60x80 Print run 7+2PA Digital Photography C-Type Lambda print on Fujichrome Photo paper, plexiglass on all...

JUICY VISION 2019 From “Sexy pop fruits” project CM 120X90 Print run 2/7+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 ink, plexiglass on alluminium dbond 3mm Each limited edition original photograph is printed in Italy under artist supervision in strictly limited edition (7 + 2PA), signed and certificated by the artist More sizes within the edition 7 + 2PA: CM 80x60 (plexiglass on alluminium dbond 3mm) CM 40X30 (unframed, in design folder) Sexy Golden Fruit celebrates the classic symbolism linked to food in a gold version and transforms the art of good food into pop art. The images of the Sexy Golden Fruit project are inspired by classic art with pop-style interpretations of fresh fruit and vegetables painted in gold. The classic iconography of the “natura morta” has always been a stratagem to deal with the sexual and sentimental sphere: in fact, since the Middle Ages, we have numerous examples in history of the erotic life through the use of food which, today as then, is an element of everyday life. Catullus also wrote innumerable poems on food as a metaphor for the sexual sphere. A perfect cultural liaison: elements of the artistic and culinary tradition, intrinsic to a latent and profoundly pulsating feeling in living within each one of us "."Sexy Golden Fruit Series", where "the iconographic references are a mere starting point for a desecration practised paradoxically by painting the fruits in gold, with an overbearing allusion to the sexual metaphor that belongs since antiquity to the painting genre. Once again, if photography often wearily insists on a pleonastic exercise of hyper-realism that is inherent to the medium, it applies a sort of hyper-anti-naturalism. These fruits are above all thought-provoking, bold icons”. “Monica Silva...

BANANAS 2023 From “Golden sexy fruits” project CM 86x120x2,8 Print run 1/6+2PA Digital Photography C-Type Lambda print on Fujichrome Photo paper, plexiglass on alluminium compo dbo...

GOLDEN PEAR 2019 From “Sexy Golden fruit" project Measurement: CM 30x40 Print run 10+2PA Digital Photography C-Type Lambda, print on Fujichrome Photo paper, unframed, in design...

WARHOLIANCOKE 2019 From “Coca-Cola Series” project CM 90x120x2,8 Print run 2/6+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 in...