J.R.

JR, Arched Throw, Montfermeil, 2014

2014

Richard Prince, The Greeting Card Jokes #3: Canada Dry, Foil-Stamped Print, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never f...

Richard Prince, The Greeting Card Jokes #2: The Best Friend, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). From a limited edition of 100. 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Text image from Richard Prince's iconic Jokes series. Signed and numbered by the artist in ink on interior of card. Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...

Richard Prince, The Greeting Card Jokes #2: The Best Friend, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never framed or displaye...

Richard Prince, The Greeting Card Jokes #1: The Fireman, 2011 As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). Signed and numbered by artist in ink on interior of card. From a limited edition of 100. 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...

Tracey Emin, Take This To The Stranger, Offset Lithograph Print, 2013 Offset lithograph printed in blue ink on pale blue paper Produced in an open edition in 2013, but now believed to be quite rare. Excellent condition (this artwork has never been framed or displayed). 11.42 x 8.27 in (29.0 x 21.0 cm) Released in 2013 and produced by Manchester International Festival and Manchester Art Gallery, in collaboration with Independent Curators International (ICI), New York. The event was initiated by curator Hans...

Anish Kapoor, Breathing Blue, 2020 Anish Kapoor is one of the most influential sculptors of his generation. Kapoor was born in Mumbai, India in 1954 an...

"Who Is Clarence Rich" (2017) by Clarence Rich Silkscreen, acrylic and ink on paper Clarence Rich is a 25 year graffiti veteran and street artist who is also a formally trained paint...

Mr. Brainwash announces the release of Life is a Game; a new limited edition screen print on archival paper. Each three-color screen print is hand torn...

Dismaland is the latest innovation in family light entertainment by the graffiti artist Banksy. Installed in the centre of an unfashionable British seaside town frequented by low-income families, Banksy describes it as “the perfect art audience.” The location is a former lido comprising four acres of walled seafront compound, which in recent years has come to more closely resemble a neglected prison yard, an atmosphere Banksy has endeavoured to preserve by declaring that none of the installation crew were allowed to bring a broom. This is an art show for the 99% who would rather not be at an art show. It features a fairytale castle, a boat pond, arcade games and extensive water gardens, all given a distinctly modern twist. But beyond the Mickey-taking is a deadly serious attempt to assemble a show that takes stock of its generation. “It's scrappy, incoherent and self-obsessed, so maybe we're halfway there,” says Banksy. This is certainly not a “street art” show—an art form Banksy describes as “just as reassuringly white, middle class and lacking in women as any other art movement.” The roster of artists ranges from Jenny Holzer, winner of the gold medal at the Venice Biennale, to Ed Hall, a pensioner who has spent forty years producing every major trade union banner...

Hand-Embellished Print on Archival Bamboo Paper Signed and Numbered, Edition of 50 with 5 APs Monarch Butterfly, Stars, Small Print, Los Angeles Graffiti Artist, Urban Street Art

Hand-Embellished Print on Archival Bamboo Paper with Unique Painted Stencil Signed and Numbered Edition of 25 with 5 APs The Rolling Stones, The Rolling Stones Tongue...

Hand-Embellished Print on Archival Bamboo Paper with Unique Painted Stencil Signed and Numbered Edition of 25 with 5 APs The Rolling Stones, The Rolling Stones Tongue...