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David SalleDavid Salle, Patient and Nurse2020
2020
$5,000
£3,817.37
€4,372.22
CA$7,004.98
A$7,832.42
CHF 4,108.43
MX$94,869.44
NOK 51,860.88
SEK 48,996
DKK 32,634.29
About the Item
PATIENT AND NURSE
Year: 2020
Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper
Size: 36 x 53 inches (91.5 x 134.5 cm)
Edition: 50
Price: $5,000
David Salle was born in Norman, Oklahoma in 1952, and earned a BFA and MFA from the California Institute for the Arts, where he studied under John Baldessari. Salle creates paintings that juxtapose seemingly unrelated images from mass media, often with an erotic and sexual theme. Images of different styles and content, taken from magazines, film and mass media are superimposed together both formally and textually. Adapting scenes from art history, advertising design and popular culture, he creates a combination of diverse cultural references.
Salle had his first solo exhibition at age 23 in Los Angeles. When his work was first shown, it generated controversy. Since then, he has earned the reputation as one of the most influential representational painters of the latter half of the 20th century. His work was in the 1993 Venice Biennale and in major retrospectives of the Whitney Museum.
More works available at IFAC Arts
- Creator:David Salle (1952, American)
- Creation Year:2020
- Dimensions:Height: 36 in (91.44 cm)Width: 53 in (134.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:Seller: More works available at IFAC Arts1stDibs: LU3266440952
David Salle
David Salle, (born September 28, 1952, Norman, Oklahoma, U.S.), American painter who, together with such contemporaries as Julian Schnabel and Robert Longo, regenerated big, gestural, expressionist painting after years of pared-down minimalism and conceptual art. Salle is known for mixing modes of representation and appropriated ready-made motifs in a single canvas, suggesting but defying any legible narrative. Employing the postmodern technique of pastiche, where the close display of disparate images and styles tends to reduce everything to equivalent signs, Salle’s paintings function as metaphors for the dizzying onslaught of media culture.
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