Lawrence Weiner

MOI + TOI & NOUS

2018

Medium: Fine art inkjet print, Hahnemüle German etching 310g Size: 37 2/5 x 51 1/5 in. (95 x 130 cm) Edition of 100 + 25 AP Hand signed by the artist and numbered on the front

The edition is a four-page print of the front page of The New York Times website on May letterhead. As the edition was printed in the period of one day, the timestamps changed and th...

Medium: Silkscreen with enamel inks and flocking on Rising 4-ply museum board Size: 42 1/10 × 42 1/10 in (107 × 107 cm) Edition of 40 Signed and numbered

Medium: 2 color wood cut prints on Somerset white 300 GSM paper Size: 46 x 40 cm each Edition of 60 Both prints are signed and numbered

Alexander Kosolapov Malevich, 1990 silkscreen on paper 22x30 inches Edition of 100 signed and numbered

ROBERT COTTINGHAM Hi, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' an...

ROBERT COTTINGHAM Fox, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...