Items Similar to A Poodle Creates a Portrait of General Idea as Three Pee Holes in the Snow
Want more images or videos?
Request additional images or videos from the seller
1 of 15
General IdeaA Poodle Creates a Portrait of General Idea as Three Pee Holes in the Snow1981
1981
$4,000
£3,022.79
€3,538.75
CA$5,585.90
A$6,284.65
CHF 3,329.85
MX$77,607.48
NOK 40,820.45
SEK 39,222.83
DKK 26,396.97
Shipping
Retrieving quote...The 1stDibs Promise:
Authenticity Guarantee,
Money-Back Guarantee,
24-Hour Cancellation
About the Item
General Idea was formed in 1967 in Toronto and over the next nearly 30 years, the trio made a remarkable contribution to post-modern art.
With their subversive approach and interest in parody and appropriation, General Idea addressed a broad range of social and art-world issues including consumerism, media consumption, the cult of the artist, and AIDS.
General Idea was both prolific and multi-disciplinary (way before it became de rigueur) creating works in a wide range of media including photography, sculpture, painting, mail art, video, performances, installations, and (perhaps most notably) artist multiples.
The poodle is one of the defining icons in General Idea’s oeuvre, signifying a multitude of meanings. Like many works in their oeuvre the poodle is both cute and subversive. While General Idea had used the poodle motif since the early 1970’s, in this iteration it becomes graphic, stylized, and vaguely robotic.
GI's dedication to creating multiples was tied to their critical exploration of consumerism and art collecting/shopping. AA Bronson explained, “General Idea was at once complicit in and critical of the mechanisms and strategies that join art and commerce, a sort of mole in the art world.”
This image would also appear on the cover of Parachute, a contemporary art magazine, published for their winter 1981 issue. Throughout the 1980's General Idea would depict stylized poodles in an array of prints and multiples.
"A Poodle Creates a Portrait of General Idea as Three Pee Holes in the Snow"
Signed, numbered and dated by the artist.
Canada, 1981
Offset and gold hot-stamping on paper
12.25"H 12.25"W (work)
From an edition of 81
Published by Parachute, Montreal
- Creator:
- Creation Year:1981
- Dimensions:Height: 12.25 in (31.12 cm)Width: 12.25 in (31.12 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Very good condition.
- Gallery Location:Toronto, CA
- Reference Number:Seller: 11-22x12-241stDibs: LU215215517962
General Idea
General Idea was commissioned by the Toronto Stock Exchange to install a work/mural. Shortly after the TSX published two prints, a lithograph poster and a limited edition print. However, most of the edition was destroyed/thrown away, when they moved from the trading floor at the TD Centre to their offices. As a result, the work has almost achieved mythological status amongst General Idea collectors.
About the Seller
4.8
Vetted Professional Seller
Every seller passes strict standards for authenticity and reliability
Established in 2009
1stDibs seller since 2015
191 sales on 1stDibs
Typical response time: 6 hours
- ShippingRetrieving quote...Shipping from: Toronto, Canada
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllImaginary Realities
By Lawrence Weiner
Located in Toronto, Ontario
Lawrence Weiner (1942-2021) is one of the most-distinctive American conceptual artists.
His philosophy and aesthetic developed concurrently to artists such as Sol LeWitt. Weiner we...
Category
1990s Conceptual Prints and Multiples
Materials
Lithograph, Offset
$950 Sale Price
52% Off
The Far Shore
By Joyce Wieland
Located in Toronto, Ontario
Joyce Wieland (1931-1998) was one of the most accomplished and versatile Canadian artists of the 20th century. Emerging on the Toronto art scene in the early 1960s, throughout her career Wieland would explore the role of women, the body, nationalism, and intimacy using a variety of mediums.
During much of the 1970s, Wieland was consumed by the creation (and recovery) of making her single feature film "The Far Shore". Her all-encompassing approach included writing the script, directing, co-producing, and trying to finance the project, a task that she notoriously despised.
The film was loosely inspired by the life and death of the Canadian painter, Tom Thompson...
Category
1970s Conceptual Prints and Multiples
Materials
Lithograph, Offset
End of the USA
By Jenny Holzer
Located in Toronto, Ontario
Jenny Holzer is one of the most important and original artists of the 20th century.
Her body of work, with an emphasis on text, is consistently provocative and occasionally frightening, manipulating the language of both pop culture and government slogan to produce commentary on global issues notably power structures and warfare.
Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York and other cities.
Composed of anonymous statements, printed on friendly or calm colored papers, the statements were influenced by writings of major political figures such as Emma Goldman...
Category
1980s Conceptual More Prints
Materials
Offset
Half Dead, "Inflammatory Essay" (from Documenta 1982)
By Jenny Holzer
Located in Toronto, Ontario
Jenny Holzer is one of the most important and original artists of the 20th century.
Her body of work, with its emphasis on text, is provocative and occasionally frightening, manipulating the language of folk wisdom, pop culture, and government slogan to produce a commentary on global issues including power structures, gender struggle, economics, voting, and warfare.
Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York, and shortly after in other cities. Unsigned and commercially produced, they subverted the conventions of advertising, graffiti, and public art. Each essay was in a different eye-catching color to maximize viewers' attention. It was also helpful when one Essay replaced an older one.
The texts were derived from her childhood interest in rapturous writings. Holzer tried to emulate a similar style for her essays, yet borrowed from political theorists (notably Mao, Lenin, and Emma Goldman...
Category
1980s Conceptual Prints and Multiples
Materials
Lithograph, Offset
Spheres of Influence
By Lawrence Weiner
Located in Toronto, Ontario
Lawrence Weiner (b. 1942) is one of the most-distinctive American conceptual artists.
His philosophy and aesthetic developed concurrently to Sol LeWitt yet Weiner has focused far more on (text-based) installation - typically in public spaces.
Exhibited at Leo Castelli during the 1970's, Weiner has been an institutional darling with major exhibitions at most of the world's top museums.
As a significant portion of his output is temporary installation, his multiples (which are few and far between) are sought-after and cherished by collectors.
This rare silkscreen was published in conjunction with Weiner's solo exhibition "SPHERES OF INFLUENCE...
Category
1990s Conceptual Prints and Multiples
Materials
Screen
$950 Sale Price
56% Off
The 1984 Miss General Idea Pavillion
By General Idea
Located in Toronto, Ontario
General Idea was founded in 1967 in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contr...
Category
1980s Conceptual Animal Prints
Materials
Lithograph, Screen
You May Also Like
Christo, Monuments: Portfolio with Ten Prints and One Sculpture, Signed Original
By Christo and Jeanne-Claude
Located in Hamburg, DE
Christo's portfolio of 10 prints and a scale model sculpture of the ‘5,600 Cubic Meter Package’ for Documenta 4 in Kassel, 1968 (height 68 cm). Sold in white vinyl portfolio box. The...
Category
1960s Conceptual Figurative Prints
Materials
Metal
Joseph Beuys, een konfrontatie, 137 Tekeningen 1945-1979, Hand Signed print Rare
By Joseph Beuys
Located in New York, NY
Joseph Beuys
Joseph Beuys, een konfrontatie, 137 Tekeningen 1945-1979, (Hand Signed), 1979
Silkscreen on velincarton (thin board)
Catalogue raisonne reference: Weiss-Britsch 75
Boldl...
Category
1970s Conceptual Abstract Prints
Materials
Board, Offset
Running Fences White
By Christo and Jeanne-Claude
Located in Boston, MA
Artist: Christo,
Title: Running Fences White
Series: Running Fences
Date: 1976
Medium: Offset Lithograph
Dimensions: 25" x 39"
Signature: Signed...
Category
1970s Conceptual Landscape Prints
Materials
Offset
Lawrence Weiner Homage to Vincent Van Gogh Vintage
By Lawrence Weiner
Located in Brooklyn, NY
Published by Art Unlimited in Amsterdam in 1990, this work is part of a collaborative celebration of Van Gogh's 100th anniversary, featuring original designs from several renowned ar...
Category
1990s Conceptual Abstract Prints
Materials
Offset
$200 Sale Price
20% Off
RARE Yvon Lambert Gallery mailer (Hand Signed and Addressed by Dennis Oppenheim)
By Dennis A. Oppenheim
Located in New York, NY
Dennis Oppenheim
Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969
Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson
23 × 16 inches
Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker
Unframed
This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item.
More information about the project from the Tate Gallery archives, which acquired the work:
This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote:
In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin.
(Quoted from artist’s statement in Tate acquisition file.)
Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...
Category
1960s Conceptual Abstract Prints
Materials
Offset, Lithograph
Image Intervention project in Alaska poster (Hand Signed by Dennis Oppenheim)
Located in New York, NY
Dennis Oppenheim
Image Intervention (Hand Signed), 1984
Offset Lithograph (hand signed and dated by Dennis Oppenheim)
Hand signed and dated on the middle front
28 × 20 inches
Unframe...
Category
1980s Conceptual Figurative Prints
Materials
Ink, Lithograph, Offset