Items Similar to Limited Edition Skate Deck (Hand Signed and Dated by renowned Minimalist artist)
Want more images or videos?
Request additional images or videos from the seller
1 of 4
Christopher WoolLimited Edition Skate Deck (Hand Signed and Dated by renowned Minimalist artist)2008
2008
About the Item
Christopher Wool
Skate Deck, 2008 (Hand Signed and Dated 2017)
Silkscreen on Maplewood (Hand Signed by Christopher Wool, with a dateline of New York, 2017)
31 × 8 × 3/10 inches
Boldly signed and dated 2017 with the dateline "NYC" in black marker
This skateboard was created in 2008 by Supreme, Inc. and is signed on the deck. However, exceptionally, in 2017, Christopher Wool hand signed and dated this skate deck n black marker for the present owner in NYC. Provenance is direct. A truly valuable collectors item when hand signed, as is the present work.
About Christopher Wool:
Christopher Wool is widely regarded as one of the preeminent and most influential American painters of his generation. He was born in 1955, grew up in Chicago, and moved to New York City in the early 1970s. Since establishing himself as an artist in the 1980s, Wool has forged an agile, highly focused practice that incorporates a variety of processes and mediums, paying special attention to the complexities of painting. Wool’s creative output also incorporates photography, sculpture, artist books, and printmaking.
Wool’s work has been presented at museums around the world. Among the institutions that have held major solo exhibitions of his work are the Museum of Contemporary Art, Los Angeles; Musée d’Art Moderne de la Ville de Paris; Solomon R. Guggenheim Museum, New York; and Art Institute of Chicago, among many others. Wool’s work is included in numerous noteworthy international institutions such as the Museum of Modern Art, New York; Musée National d’Art Moderne, Centre Georges Pompidou, Paris; and Tate Modern, London. He has been a Fellow of the American Academy in Rome; Artist in Residence at DAAD, Berlin and Chinati Foundation, Marfa; and a recipient of the Wolfgang Hahn Prize. In 2021 major sculptures by the artist were permanently installed at the University of Texas Southwestern Medical Center in Dallas, and the National Gallery of Art in Washington, DC.
Wool currently lives and works in New York City and Marfa, Texas.
- Courtesy of Luhring Augustine
- Creator:Christopher Wool (1955, American)
- Creation Year:2008
- Dimensions:Height: 31 in (78.74 cm)Width: 8 in (20.32 cm)Depth: 0.3 in (7.62 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745210667032
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 2007
1stDibs seller since 2022
289 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 1 day of delivery.
More From This SellerView All
- Sculpture: Forty Years (Book hand signed by Richard Serra)By Richard SerraLocated in New York, NYRichard Serra Sculpture: Forty Years (Hand signed by Richard Serra), 2007 Hardback monograph (Signed by Richard Serra on the title page) Hand signed with marker by Richard Serra on t...Category
Early 2000s Minimalist More Prints
MaterialsMixed Media, Permanent Marker, Lithograph, Offset
- Peter Halley Small Paintings Rare European poster Minimalist Neo Geo Hand SignedBy Peter HalleyLocated in New York, NYAlpha 137 Gallery is honored to offer this historic offset lithograph of legendary American artist Peter Halley's 1998 exhibition of small paintings at Galerie Bruno Bischofberger in...Category
1990s Minimalist Abstract Prints
MaterialsOffset, Felt Pen
- Peter Halley, Jablonka Galerie, Köln rare exhibition poster (Hand Signed)By Peter HalleyLocated in New York, NYPeter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...Category
1990s Abstract Geometric Abstract Prints
MaterialsOffset, Permanent Marker, Lithograph
- Dream of William Burroughs (rare 1970s limited edition lithograph) for Earth DayBy Robert RauschenbergLocated in New York, NYROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...Category
1970s Pop Art Abstract Prints
MaterialsOffset, Permanent Marker, Lithograph
- Glaspalast Edition poster, Munich, Germany 1996 (Hand Signed by Sean Scully)By Sean ScullyLocated in New York, NYSean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph poster Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scul...Category
Early 2000s Abstract Abstract Prints
MaterialsLithograph, Offset, Ink, Permanent Marker
- Black with White Lines, Vertical, Not Touching (Krakow 1970.07; 3. Kornfeld)By Sol LeWittLocated in New York, NYSol Lewitt Black with White Lines, Vertical, Not Touching, from Conspiracy: The Artist as Witness (Krakow 1970.07; 3. Kornfeld), 1971 Lithograph on Wove Paper Edition AP (A rare Artists Proof, aside from the regular edition of 150) Hand-signed by Sol Lewitt: pencil signed on the reverse (see photos), annotated Artists Proof, blindstamp of the publisher; copyright stamp reads: COPYRIGHT 1971 BY SOL LEWITT Published by: Bank Street Shorewood Atelier Frame included: Held in original vintage metal frame Measurements: Framed: 25 inches x 28 inches Sheet: 17 inches x 23 ½ inches This one-color lithograph pulled by hand from stone on Arches paper at the Shorewood Bank Street Atelier in New York by American master Sol Lewitt is a classic example of pure Minimalist art from the early 1970s - the most influential and desirable era. A very rare Artists Proof, aside from the regular edition of 150. "Vertical Lines Not Touching (Black)" was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman...Category
1970s Minimalist Abstract Prints
MaterialsLithograph, Pencil
You May Also Like
- "Evening Elegance" Limited Edition Hand Embellished Giclee on CanvasLocated in Chatsworth, CAPino's portraits allow glimpses into intensely personal, intimate spaces, conveying emotion through rich, warm color and sensual brushwork. "Evening Elegance" is a hand embellished l...Category
21st Century and Contemporary Contemporary More Prints
MaterialsScreen
- "Sweet Scent" Limited Edition Hand Embellished Giclee on CanvasBy Pino DaeniLocated in Chatsworth, CAPino's portraits allow glimpses into intensely personal, intimate spaces, conveying emotion through rich, warm color and sensual brushwork. "Sweet Scent" is a hand embellished limite...Category
21st Century and Contemporary Contemporary Mixed Media
MaterialsScreen
- Silkscreen by Yaacov AgamBy Yaacov AgamLocated in Tel Aviv, ILYaacov Agam, Silkscreen, Colored work, International artist, Israeli artist, Israeli art. Yaacov Agam’s polymorph is a unique example of geometric and kinetic art that changes as the...Category
Late 20th Century Kinetic Mixed Media
MaterialsSilk, Screen, Color
- Paul Insect I SEE Skateboard Deck Set Of 3 Beyond The Streets Signed XX/101 COABy Paul InsectLocated in Draper, UTPaul Insect: Paul Insect is a UK contemporary artist. Best known for his collective named ‘insect’ that started in 1996 he is a collage, portrait master w...Category
2010s Pop Art More Prints
MaterialsScreen
- Untitled (with Green)By El AnatsuiLocated in Santa Fe, NMUntitled (with Green) is a 2015 stenciling and hand-painted enamel on aluminum sheet by El Anatsui. Untitled (with Green) is signed by El Anatsui.Category
2010s Abstract Mixed Media
MaterialsMonotype
- Mo'jamBy Farah KhelilLocated in Los Angeles, CAFarah Khelil, Mo’jam, Fine Art Print, 99.7 x 150 cm, 2015 antoine lefebvre editions bookworm, curated by Antoine Lefebvre The boundaries between passion and destruction fade away. bookworms is an transnational transmedia artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction. From the encounter with a destroyed book stems a reflection between two artists who are both passionate about books. It is important for us to present this project in different countries because the issues of transmission of knowledge are everywhere the same. This project is about the ignorants for whom knowledge, intelligence and education has become a threat and who seek to drag others with them into darkness. For Khelil, the book eaters are thinkers and intellectuals against conservatism and dogmatism. *** bookworms is an artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction This project is the fruit of a very special encounter with an object… After the death of her grandfather in 2012, Tunisian artist Farah Khelil (b. 1980) explored his library and found an old family dictionary in Arabic (Mo'jam Arabia), at least what was left of it, for it had been devoured by book eaters. She decided to collect some fragments without knowing what she would do with them. Impressed by how carefully cut the pieces were, she wanted to transform them into artworks that would honor the memory of her grandfather. Because she knew how important the book object is in my artistic practice, she showed me the fragments and invited me to participate in an exhibition at the Tunisian gallery A.GORGI in her hometown Sidi Bou Said. I then thought about introducing her to Barbara Denis-Morel, the curator of the Avranches Library. This library conserves, among other treasures, more than 200 medieval manuscripts from the abbey of the Mont Saint-Michel, but it also holds a few books that were entirely devoured. Thanks to the curator, we could consult old books that were infected, quarantined, pierced by galleries and routes that revealed the passage of book-eating insects. We filmed these pages to create a video that we entitled ALL THE MEMORY IN THE WORLD, Toute la mémoire du monde, which is an appropriation of the eponymous film by Alain Resnais. Farah had also kept some intact pages of the devoured dictionary. Then we used this sequence of 120 pages to build the lay-out structure of an artist’s book. The idea was to empty all the textual content —captions and definitions— to keep only the figures, the dropped initials, and the page numbers. The emptied columns of the dictionary were then filled with artistic contributions and texts that we commissioned to invited authors. Printed in an edition of 500 copies, this artist book was made by Farah Khelil and antoine lefebvre editions from the remains of a devoured book. It will be a key element, of this second presentation of the project, and a special edition with a bookstand will produced especially for the fair. Behind the idea of book-eating insects, there is the issue of conservation but also of conservatism, as in Solitaire, an installation Khelil made with a peg solitaire game and mothballs. This work is a “portrait” of her grandfather, Abdelaziz Majdoub, who taught Arabic at the Sadiki High School for a long time where he specialized in “ilm al-kalam,” the science of language. This project is imbued with nostalgia, it is reminder for the artist of the time she spent as a child with this thinker always with his head in books. These encyclopedic pieces transformed into artworks draw the territories and communal places of knowledge. They are extensions of a family memory and reflect a culture going back and forth between book-loving and book-eating, conservation and conservatism. This idea of book destruction is one of the main dangers threatening the library and the books that compose it: fire, water and confinement. But there is also this minor or mediocre scourge that intend to harm the books: the book eaters. This exhibition is a metaphor, a reflection on ignorance, not as opposed to knowledge but as an enemy of knowledge. Ignorance is what attempts to undermine the intelligence, kill or reduce it. Just like the bookworms...Category
21st Century and Contemporary Conceptual Mixed Media
MaterialsMixed Media