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Larry RiversDwan Gallery Rare, Historic Pop Art exhibition print Hand Signed by Larry Rivers1965
1965
About the Item
Larry Rivers
At The Dwan Gallery: Rivers Small Recent Work (Hand Signed), 1965
Silkscreen on wove paper
Hand signed and dated "Rivers, 1965" in graphite pencil lower right front
Frame Included: held in vintage metal period frame
This uncommon, hand signed historic poster is of a Larry Rivers exhibition at the legendary Dwan gallery. Dwan gallery was run by Virginia Dwan, a leading patron of 1960's avant-garde art. This remarkable gallery presented groundbreaking exhibitions for Minimalism, Conceptual Art and Land Art by artists such as featuring works by Carl Andre, Walter de Maria, Dan Flavin, Michael Heizer, Robert Morris, Sol LeWitt, Agnes Martin, Charles Ross, Robert Ryman, and Robert Smithson. In 2017 Los Angeles County Museum of Art (LACMA) hosted a traveling exhibition highlighting Dwan Gallery's storied contribution to the history of modern art.
This silkscreen is an historic collectors item; these vintage Dwan posters rarely appear on the market, especially ones hand signed by Larry Rivers as the present one.
Measurements:
Frame:
15.5 x 17.5 x 0.3 inches
Print:
15 x 17 inches
Publisher:
Dwan Gallery, LA
Larry Rivers Biography:
b. 1923, Bronx, New York; d. 2002, New York
Born in August 17, 1923, and raised in the Bronx, Larry Rivers was a painter, sculptor, printmaker, poet, and musician at the crossroads of Abstract Expressionism and Pop art, who bucked prevailing trends in favor of a more singular style. The son of Ukrainian Jewish immigrants, he was known as Yitzroch Loiza (Irving) Grossberg until age 17, when a nightclub emcee announced his band as “Larry Rivers and the Mud Cats.” He adopted the name that same year. Following a brief stint in the U.S. Army, Rivers spent a year at the Juilliard School of Music studying musical theory and composition. He then pursued his only formal artistic training at Hans Hofmann’s painting school in New York from 1947 to 1948. Countering the vogue for abstraction at the time, Hofmann’s approach emphasized drawing as the foundation of all art making and presented the old masters as rich resources for creative exchange. In 1951, Rivers received a BA in art education from New York University.
Proceeding from the conviction that figuration was not antithetical to modernism, Rivers completed his first major work, The Burial, in 1951, signaling the major concerns that he would return to throughout his life. With this painterly restaging of Gustave Courbet’s masterpiece A Burial at Ornans (Un enterrement à Ornans, 1849–50), Rivers began a sustained engagement with canonical paintings, imaginatively connecting contemporary art with art history. In works such as Washington Crossing the Delaware (1953), Rivers similarly mined the past for inspiration; a few years later, he began to take up more contemporary images, as in Dutch Masters and Cigars (1964), which was partly copied from a cigar box that itself depicted Rembrandt’s 1662 painting The Syndics of the Clothmakers’ Guild (De Staalmeesters). Subsequently, Rivers made several works that combine sculpture and painting, including I Like Olympia in Blackface (1970), which reverses the roles of Édouard Manet’s Olympia and her African servant. Later that decade, Rivers began appropriating his own work from the 1950s and 1960s with the series Golden Oldies (1978–79). In an interview with his close friend the poet Frank O’Hara, Rivers illuminated the premises of his approach, saying, “I think of a picture of a smorgasbord of the recognizable.”¹ Two of his largest projects adopted broad historical themes. The History of the Russian Revolution from Marx to Mayakovsky (1965), an enormous mixed-media assemblage, incorporated painted portraits, architectural cutouts, stenciled lettering, and found objects. The monumental History of Matzah: The Story of the Jews (1984–85) also used text and three-dimensional relief elements, this time to narrate Jewish history from Moses to Theodore Herzl, the founder of Zionism.
Rivers’s first major survey was organized by the Rose Art Museum, Brandeis University, Waltham, Massachusetts, in 1965; it traveled to the Pasadena Art Museum; Jewish Museum, New York; Detroit Institute of Arts; and Minneapolis Institute of Arts. A retrospective of his paintings and drawings opened at the Butler Institute of American Art, Youngstown, Ohio, in 1990, and toured the United States for a further two years, with stops in the Norton Gallery of Art, West Palm Beach, Florida; Fort Wayne Museum of Art, Indiana; Scottsdale Center for the Arts, Arizona; and J. B. Speed Art Museum, Louisville, Kentucky. In 1997, the Philharmonic Center for the Arts, Naples, Florida, staged a retrospective of the works Rivers made between 1980 and 1997. His most comprehensive retrospective to date was at the Corcoran Gallery of Art in Washington, D.C., in 2002. Rivers continued painting up until three months before his death in Southampton, New York, on August 14, 2002.
-Courtesy Guggenheim Museum
- Creator:Larry Rivers (1923 - 2002, American)
- Creation Year:1965
- Dimensions:Height: 15.5 in (39.37 cm)Width: 17.5 in (44.45 cm)Depth: 0.3 in (7.62 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good vintage condition; held in original vintage metal frame. Not examined outside of frame but appears fine.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745216361432
Larry Rivers
Figurative artist Larry Rivers was born in the Bronx in 1923 to Ukrainian Jewish parents, and was named Yitzak Loiza Grossberg. Rivers belonged to the second generation of the New York School of painters, although unlike most of his contemporaries he stayed away from abstraction instead preferring narrative paintings. He began his artistic career playing the jazz saxophone, and when one night his group was introduced as "Larry Rivers and the Mudcats," he decided to keep the name.
After a brief period in the army during World War II, Rivers attended Juilliard School of Music for one year before returning to the jazz saxophone. After he met the painter Jane Freilicher, he decided to devote himself to painting. Rivers attended Hans Hofmann's school for nearly two years. In 1949, he had his first solo show at the Jane Street Gallery, an artist's co-op in the Village. Rivers received favorable reviews and was invited to join the Tibor de Nagy Gallery uptown.
Rivers continued to show annually at the Tibor de Nagy Gallery from 1952 to 1962. In 1963, he joined the Marlborough Gallery, where he stayed until his death. In 1955, The New York Museum of Modern Art acquired his painting Washington Crossing the Delaware, and in 1956 the Whitney Museum purchased Double Portrait of Berdie, two of his more famous paintings. He had periodic museum shows in Europe and the United States throughout his career.
Rivers had two sons, Joseph and Steven, by his first wife, Augusta. In 1961 he married Clarice Price and had two more children, Gwynne and Emma. In the 1970s he had another son with the painter Daria Deshuk.
The subjects of River's figurative paintings were family, history, politics, religion and sex. His work done in oils often included the use of stencils, cutouts, blank canvas and image reversals. He often painted family members including his mother in law, his sons and his ex-wife. Rivers favored historical subjects such as History of Matzah: The Story of the Jews (1984-85), History of the Russian Revolution (1965) and often painted parodies including his Washington Crossing the Delaware. He enjoyed controversial subjects and shocking the public. Lapman Loves It (1966) is a nine-foot electrified assemblage complete with strategically located light bulbs. French Vocabulary Lesson (1961-62) is a nude with body parts labeled in French.
Rivers was also a writer. In 1979 he published Drawings and Digressions with Carol Brightman. In 1992 he published What Did I Do? The Unauthorized Autobiography with Arnold Weinstein.
Find original Larry Rivers prints and paintings on 1stDibs.
(Biography provided by Lincoln Glenn)
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