Barbara Kruger

My Pretty Pony

1989

9-color silkscreen print on plexiglass, 5 x 12” (12,5 x 31cm) Printed by Atelier für Siebdruck, Lorenz Boegli, Zurich Ed. 45/XX, signed and numbered certificate

Offset lithograph on perforated paper Edition of 200

"Untitled", 1991 (for Parkett 27) Lithograph on newsprint with handtorn edges, printed on both sides and folded three times, hand-colored with coffee by the artist, 22 1/8 x 13 7/8” (56,7 x 35,4 cm), printed by Maurice Sanchez & Joe Petruzzelli, Derrière L’Etoile Studio, New York, Ed. 75/XXV unique pieces, signed and numbered Robert Gober...

"Hair Box," 1990 (for Parkett 23) Paint on rubberized hair, wood backing, 10 x 15 x 5” (25,4 x 38 x 13 cm), Ed. 100/XX, signed and numbered A material common...

Two-plate photogravure with aquatint and unique hand-shaped plasticine elements (in three colors) on multilayered laminated paper.

Mirror #9 (C.114) from the Mirror Series is a screenprint and lithograph on paper, 30 x 21.18 inches, signed and dated 'rf Lichtenstein '72' lower center margin and framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.126, #114. About Lichtenstein’s Mirror Series (taken from Corlett): Mirrors were an important subject in Lichtenstein’s paintings and prints of the early 1970s. From late 1969 to 1972 he painted over forty canvases depicting this subject. The first print was in 1970, with Twin Mirrors (cat. no.102) for the Guggenheim Museum. In 1972 he also produced Mirror (cat. No. 115) at Styria Studio, in addition to this Gemini G.E.L. series of nine prints. In the mid-seventies he took up the subject in sculpture, and he returned to it in prints as recently 1990, with Mirror (cat. No 246). In addition, he has often explored the related theme of reflections, incorporating them in various paintings and in several print series: Reflections (1990; cat. Nos. 239 – 245), Interiors (1990, published 1991; cat. nos. 247 – 54), and Water Lilies (1992; cat. nos. 261 – 66). This Gemini group (catalog nos. 1-6 - 114) utilizes lithography, screenprint, line-cut, and embossing... In an interview with Lawrence Alloway, Lichtenstein noted: “You know, I am always impressed by how artificial things look – like descriptions of office furniture in newspapers. It is the most dry kind of drawing, as in the Mirrors. They really only look like mirrors if someone tells you they do. Only once you know that, they may be moved as far as possible from realism, but you want it to be taken for realism. It becomes as stylized as you can get away with, in an ordinary sense, not stylish.” As Jack Cowart has commented: “One would not actually stand in front of a Lichtenstein Mirror...

A stunning example of abstracted imagery easily identifiable as the work of Roy Lichtenstein, Blue Face was created by the artist in 1989 as a truly mixed me...

Dondi White, Futura, Lee Quinones, Crash, Daze, Lady Pink & Zephyr: Celebrating 15 Years Above Ground (1995): This rare, complete portfolio of 7 hand-signed limited edition screen-prints, was published on the occasion of the 1995 exhibition, Celebrating 15 Years Above Ground: a historic event exploring the evolution of 1980’s New York graffiti legends: Crash, Daze, Dondi, Futura, Lee Quinones, Lady Pink, and Zephyr. The seldom seen complete set of 7 works accompanied by both original portfolio covers, makes for a standout addition to any 1980’s New York graffiti collection. Medium: 7 individual screen-prints in colors on fine, deckle-edged Stonehenge paper; plus a screen-printed portfolio cover on heavy matte paper. 1995. Each work individually measures: 14 x 11 inches (35.6 x 27.9 cm). Each hand-signed & numbered in pencil by the respective artists from an edition of 100 (5 works signed & numbered frontside; with Futura & Lady Pink signed & numbered on the reverse). Condition: Prints: Some very minor signs of handling; rubbing on the right lower edge of Zephyr; in otherwise very good overall vintage condition as pictured. Superb overall print quality & color separation. Fine archival paper. Portfolio casing (last image) contains some minor signs of aging & handling. Collections: The Smithsonian National Museum of African American History and Culture. Dondi White: Dondi was an American graffiti artist best known for his dynamic lettering and stick figures. His work, whether painted on canvas or on walls, is characterized by a dynamic energy and explosive use of color. Dondi became associated with a group of legendary artists working in the East Village, including Futura, Keith Haring, and Jean-Michel Basquiat. His canvas works reiterated the lettering, symbolic icons, and stick figures that were his signature marks on the streets, while his later work from the 1990s included collages that juxtaposed pencil drawings with blueprints of the subway system—which had previously served as his canvas. Futura: Futura 2000 is a contemporary American graffiti artist. Over the course of his career, he transitioned from making New York-based subway graffiti in the early 1970s, to exhibiting at Fun Gallery in the 1980s alongside major artists such as Jean-Michel Basquiat, Keith Haring, and Kenny Scharf. He went on to collaborate with the punk band The Clash, designing their album art and performing live graffiti during their concerts. Today, McGurr’s work can be found in the collections of the Museo de Arte Moderna di Bologna, the Musée de Vire in France, and the Museum of the City of New York. Lee Quinones: Lee Quinones is an American-Puerto Rican artist known for the graffiti he made on New York subway cars during the 1970s and 1980s. Quinones addressed political and cultural issues through his graffiti, with quotes such as “Earth is Hell...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...