Mary Corita (Sister Corita) Kent

Today is the First Day of the Rest of Your Life

1976

Robert Indiana The American Love (Sheehan, 76), 1972 Color silkscreen on heavy white wove paper 25 1/2 × 19 3/4 inches Editions A/P-7 of 35, aside from t...

Robert Rauschenberg Human Rights Award, 1981 Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Pencil signed and numbered 73/100 on the front Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Published by the Democratic Party...

ROBERT INDIANA Santa Fe Opera (Hand signed, numbered), 1976 Silkscreen on wove paper 37 1/2 × 27 inches Edition AP 7/50 Hand Signed and dated lower rig...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Stamped and dated with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket simultaneously reflects Warhol's central preoccupations with commercial culture (the ticket is, par excellence, an object that is bought and sold), as well as his fascination with Hollywood - as the ticket, quite literally, represents an entree into the world of film. Warhol's appropriation of the flower - an otherwise sentimental and decorative motif, transforming it into a symbol of the Pop Art movement, is a hallmark of his early style and innovations. Andy Warhol's vibrant vintage color silkscreen Lincoln Center Ticket from the fabulous Sixties is considered one of the more iconic and recognizable Warhol images. It is also one of Warhol's earliest prints. The Vera List...

Robert Indiana HOPE for the Democratic National Committee, 2008 Oil silkscreen in colors on watermarked Coventry archival paper 25 × 19 inches Edition 138/200 Signed, dated and numbered 138/200 in graphite pencil on the front; paper is watermarked by AIA with text (There were also 25 Artist's Proofs) Published by American Image Art (AIA) for the Obama Victory Fund and the Democratic National Committee, master printer Gary Lichtenstein Unframed This work was published in 2008 as part of the "Artists for Obama" portfolio, in which some of the top artists contributed prints to raise money for Obama's presidential campaign. Robert Indiana donated all of the proceeds of the sale of this work to electing Barack Obama. During the 2020 election, it became an even greater part of American popular culture when it was featured on the influential NBC show Saturday Night Live's cold open skit featuring the Vice Presidential debate between Kamala Harris and Mike Pence. Mid-debate, "Joe Biden" (played by actor Jim Carrey...

Robert Indiana The Golden Future of America (Sheehan, 92), 1976 Silkscreen on Arches paper Signed and dated in pencil, lower right; numbered 13/175, in pencil, lower left. Also bears printers blind stamp Frame included: Elegantly matted and framed in a handmade wood frame On its face, this Robert Indiana's silkscreen, based upon the eponymous painting "The Golden Future of America", is a patriotic celebration of Americana, done for the country's bicentennial year. But its looks are deceptive, as the work has a far more subversive meaning. In 2014, the Art Newspaper...

Hand-signed rf Lichtenstein in pencil and numbered 245/300. Published by Leo Castelli Gallery, for the Pasadena Art Museum, California. The Prints of Roy Lichtenstein A Catalogue Rai...

EA Artists Proof aside from edtion of 150. Screenprint in colors on Wove Paper. Hand signed, numbered from the Artists Proof edition of 20 and dated '85 in pencil right side margin. Published by Martin Lawrence Limited Editions, Inc., New York...

Oil and Silkscreen ink on triple primed canvas. Hand signed, dated, titled and inscribed "P/P" on verso by Robert Indiana. Printer's Proof edition. Total of 4 panels. Each panel ...

Deborah Kass (born 1952) Limited edition geometric abstract lithograph in colors on artist paper. Hand signed and dated in pencil to lower right. 1973. Edition: 102/120 to lower left. Dimensions: sight: 16-3/4" W x 21-1/4" H. Frame: 24-5/8" W x 28-7/8" H. Finding inspiration in pop culture, political realities, film, Yiddish, art historical styles, and prominent art world figures, Deborah Kass uses appropriation in her work to explore notions of identity, politics, and her own cultural interests. She received her BFA in painting at Carnegie Mellon University and studied at the Whitney Museum Independent Study Program and the Art Students League of New York. Deborah Kass (born 1952) is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Deborah Kass works in mixed media, and is most recognized for her paintings, prints, photography, sculptures and neon lighting installations. Kass's early work mimics and reworks signature styles of iconic male artists of the 20th century including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha. Kass's technique of appropriation is a critical commentary on the intersection of social power relations, identity politics, and the historically dominant position of male artists in the art world. Deborah Kass was born in 1952 in San Antonio, Texas. Her grandparents were from Belarus and Ukraine, first generation Jewish immigrants to New York. Kass's parents were from the Bronx and Queens, New York. Her father did two years in the U.S. Air Force on base in San Antonio until the family returned to the suburbs of Long Island, New York, where Kass grew up. Kass’s mother was a substitute teacher at the Rockville Centre public schools and her father was a dentist and amateur jazz musician. At age 14, Kass began taking drawing classes at The Art Students League in New York City which she funded with money she made babysitting. In the afternoons, she would go to theater on and off Broadway, often sneaking for the second act. During her high school years, she would take her time in the city to visit the Museum of Modern Art, where she would be exposed to the works of post-war artists like Frank Stella and Willem De Kooning. At age 17, Stella’s retrospective exhibition inspired Kass to become an artist as she observed and understood the logic in his progression of works and the motivation behind his creative decisions. Kass received her BFA in Painting at Carnegie Mellon University (the alma mater of artist Andy Warhol), and studied at the Whitney Museum Independent Study Program Here, she created her first work of appropriation, Ophelia’s Death After Delacroix, a six by eight foot rendition of a small sketch by the French Romantic artist, Eugène Delacroix. At the same time Neo-Expressionism was being helmed by white men in the late Reagan years, women were just beginning to create a stake in the game for critical works. “The Photo Girls...

I was told this might be by another David Prentice. as I am uncertain I will add his bio. I cannot ascertain which one it is. Vintage 1981 DAVID PRENTI...

Silkscreen screenprint with woodblock and gold leaf Hand signed and numbered. Joseph Charles Tilson RA (born 24 August 1928 in London) is an English pop art painter, sculptor and pr...