Jesús Rafael Soto

Jai Alai Suite

1969

“Jai Alai Suite” 1969 Perspex, nylon thread, and steel Ed 87 of 300 19 x 6 x 6 in

Portraiture inspired Raiman Rodriguez's work as an expression of society. He is interested in interacting with the pieces without limiting himself to ...

Raiman Rodríguez (1993) is a young artist born in Cuba who today resides in Miami. He studied and graduated from the San Alejandro Academy of Fine Art...

Jesús Rafael Soto was a Venezuelan artist known for his kinetic sculptures and large-scale installations. Like Alexander Calder and George Rickey, Soto’s delicate and responsive constructions react to external stimuli and changes in the atmosphere, as seen in his work Penetrable (1990). “Artistic creation is a force which should preferably be directed towards the exploration of space, of the universe, of the infinite realities which surround us, but of which we are hardly conscious,” Soto once mused. Born on June 5, 1923 in Cuidad Bolívar, Venezuela, he studied at the Escuela des artes plásticas in Caracas from 1942–1947 and later served as the director of the Escuela de bellas artes in Maracaibo, Venezuela until his move to Europe in 1950. Settling in Paris, he associated with the Op Art artists Victor Vasarely and Yaacov Agam, as well as members of the ZERO group such as Otto Piene, Jean Tinguely, and Heinz Mack. In 1973, the Museo de arte modern Jesús...

Untitled (from the Jai-Alai Series) 1969 wood, paint, metal and nylon thread signed and numbered ‘SOTO, 31/300’ (on the base) published by Marlborough Gallery, New York. Jesús Rafael Soto was a Venezuelan artist known for his kinetic sculptures and large-scale installations. Like Alexander Calder and George Rickey, Soto’s delicate and responsive constructions react to external stimuli and changes in the atmosphere, as seen in his work Penetrable (1990). “Artistic creation is a force which should preferably be directed towards the exploration of space, of the universe, of the infinite realities which surround us, but of which we are hardly conscious,” Soto once mused. Born on June 5, 1923 in Cuidad Bolívar, Venezuela, he studied at the Escuela des artes plásticas in Caracas from 1942–1947 and later served as the director of the Escuela de bellas artes in Maracaibo, Venezuela until his move to Europe in 1950. Settling in Paris, he associated with the Op Art artists Victor Vasarely and Yaacov Agam, as well as members of the ZERO group such as Otto Piene, Jean Tinguely, and Heinz Mack. In 1973, the Museo de arte modern Jesús...

Manuel Mendive Cuban Artist “La Esperanza (Hope)” 2020 Bronze Ed 3 of 7 20 x 12 x 15 in Certificate of authenticity by the artist. Acquired directly from the artist. We would be gla...

TECHNICAL INFORMATION Tom Wesselmann Rosemary Lying on One Elbow 1989 Laser-cut steel with alkyd oil 9 x 14 in. Edition of 45 Signed, titled, dated and numbered on verso Accompanie...

"Abstract I" is a Framed and Matted Mixed Media Print with Gold-Leaf. The artist signature is illegible. It measures 40.5 x 34.5 inches. The date of creation is unknown but is believ...

"Abstract II" is a Framed and Matted Mixed Media Print with Gold-Leaf. The artist signature is illegible. It measures 40.5 x 34.5 inches. The date of creation is unknown but is belie...

Yinka Shonibare It's My Party and I'll Cry If I Want To, 2013 24ct gold leaf embellishment, hand applied dutch wax batik fabrics on 225gsm Somerset Enhanced Paper Boldly signed and n...

Robert Longo Three Strikes, You're Out (Triptych), 1990 Silkscreen and Color Photograph (C-Print) on Aluminum and Lead Plates 9 4/5 × 23 3/5 inches Edition 120/200 Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's and publishers printed name & copyright Unframed Three Strikes You're Out was created in 1990 by Robert Longo exclusively for the mixed-media box-edition Contemporary Archeology, Pandora Part Three. The works were executed by jennifer Cox for Publishing House Bebert in an edition of 200, numbered and signed copies. This work is assembled as triptych and consists of two aluminium plates. Both aluminium plates show a color photograph of a cloud with silkscreened red X, the lead plate only showing the red X Total size is: 9.8 inches by 23.6 inches Individual Metal Plate Sizes: 9.8 x 9.1 in (2) / 9.8 x 5.1 (1) Unframed Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's printed name and copyright mark, along with the publisher - Publishing House Bebert, Rotterdam. Robert Longo Biography: Robert Longo was born in 1953 in Brooklyn and grew up in Long Island, New York. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the U.S. invasion of Cambodia. One of those killed was a former classmate of Longo’s, and his body was shown in a Pulitzer Prize-winning photograph that was seen across the world. The event shocked Longo, triggering his interest in political activism and media imagery. In 1972, Longo received a grant to study restoration and art history in Florence. While touring the museums of Europe, he realized he wanted to make, rather than restore art. In 1973, Longo enrolled at Buffalo State College, where he worked for artists Paul Sharits and Hollis Frampton, who introduced him to structuralist filmmaking. Along with Charles Clough, Longo also co-founded Hallwalls (1974–ongoing), an alternative non-profit art exhibition space where he organized shows and talks with artists such as John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra. At Buffalo State, Longo started a friendship–that still exists to this day–with Cindy Sherman, and in 1977 the two moved to New York together, where Longo began working as a studio assistant to Vito Acconci and Dennis Oppenheim. That year he was included in the exhibition Pictures at Artist’s Space, curated by Douglas Crimp, which showcased work by a group of five young artists who were engaged with the politics of image-making, drawing from advertisements, newspapers, film, and television. The “Pictures Generation,” as they became known, included artists such as Cindy Sherman, Richard Prince, Louise Lawler, David Salle, and drew from semiotics and poststructuralist theory to investigate the way meaning is made and circulated in modern society. Their work often critiqued the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media. At his first solo show at Metro Pictures in 1981, Longo presented his charcoal and graphite Men in the Cities drawings, which instantly became icons of the “Pictures Generation,” and some of the most recognizable artworks of the 1980s. Longo performed in New York rock clubs with the band Menthol Wars with Richard Prince, throughout the 1980s. During that period, he also designed numerous album covers, including Glenn Branca’s The Ascension (1981) and The Replacements’ Tim (1985). In 1986, he directed his first music video for New Order’s chart-topping song Bizarre Love Triangle, and the following year directed The One I Love, a video for R.E.M.’s first hit single. Longo began working with diverse materials at increasingly ambitious scales. His Combines series, first exhibited in 1983, incorporated materials such as paint, graphite, wood, plaster, cast bronze, and steel in works that were part-painting, part-sculptural reliefs. Using Sergei Eisenstein...

Incised signature in aluminum, annotated "Artists Proof" and titled; ink on top smudged If you've ever visited the Guggenheim Bilbao, you should get ...