Harland Miller

Ace (Large) by Harland Miller

2019

Andy Warhol, Lincoln Center Ticket, 1967 Andy Warhol was a leading figure in the Pop Art movement. Like his contemporaries Roy Lichtenstein and ...

Richard Prince, The Greeting Card Jokes #1: The Fireman, 2011 As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). Signed and numbered by artist in ink on interior of card. From a limited edition of 100. Edition 91/100 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...

Richard Prince, The Greeting Card Jokes #3: Canada Dry, Foil-Stamped Print, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never f...

Richard Prince, The Greeting Card Jokes #2: The Best Friend, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). From a limited edition of 100. Edition 91/100 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Text image from Richard Prince's iconic Jokes series. Signed and numbered by the artist in ink on interior of card. Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...

A superb impression of this color aquatint, etching and pochoir on Pescia Italia white wove paper. Signed, titled, dated and numbered 68/78 in pencil by Rosenquist. Printed by Flatst...

Etching on R.K.Burt paper, cut, torn, and deckle edges

This work is a study for Inverted Q, a large sculpture that Oldenburg created after producing many sketches and small models. At the time he was experimenting with concepts of monume...

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...