Keith Haring

Keith Haring Theater der Welt Frankfurt (Keith Haring 1985)

1985

Signed Ryan McGinness screen-print: Ryan McGinness, "Women: The Blacklight Paintings". The Standard Hotel, New York, 2010. Screen-print with black flo...

Keith Haring Record Art 1987: A rare highly sought-after Keith Haring illustrated album cover featuring vibrant colors that make for stand-out wall art. Off-Set Lithograph on vinyl record jacket, 1987. Dimensions: 12 x 12 inches. Features a printed Keith Haring signature on the lower right. Minor shelf & edge wear; in otherwise good overall vintage condition. Includes original record (in good condition). Haring artwork credit found at bottom of last image. Keith Haring Album Art: a brief history:  Whether collaborating with Grace Jones, Andy Warhol, and Jean-Michel Basquiat, regularly frequenting clubs like Paradise Garage alongside close friend Larry Levan, or sketching DJ robots, New York artist and activist Keith Haring’s work was deeply entwined with the music world lending his vision to sounds by everyone from David Bowie to Run DMC. Looking for something cool to complement this work? Please feel free to browse additional items like this from Jean Michel Basquiat, Andy Warhol, Damien Hirst, Keith Haring & more on our 1stDibs gallery page.  Related Categories Vintage Keith Haring. Keith Haring prints. Street art. Pop art...

Keith Haring Safe Sex poster 1987: A fun, witty, classic Haring illustration created by the artist in conjunction with his many Aids Awar...

Keith Haring Fault Lines 1986 (set of 4 printed works): A grouping of 4 lithographs from the book Fault Lines by Brison Gysin with illustrations by Keith Haring. These works are eac...

Claes Oldenburg Parade of Women from the Deluxe hand signed edition of 1 Cent Life Portfolio (Acquired from the Estate of Robert Indiana), 1964 Color lithograph on wove paper Published by E.W. Kornfeld, Germany, Written by Walasse Ting, Edited by Sam Francis Hand-signed by Claes Oldenburg on the lower right front; numbered 85/100 on the colophon page a copy of which is affixed to the back of the frame -see photo Frame included: elegantly floated and framed in hand made museum frame with UV plexiglass, and colophon page with unique edition number affixed to the back. (see photos) This hand signed work is from the Deluxe hand signed edition of only 100 - not to be confused from the unsigned edition of 2000. (None of the works from the edition of 2000 were ever signed by Oldenburg.) Hand signed editions are rarely if ever seen on the marketplace. This original lithograph, splayed across two pages, is from the Deluxe edition of the legendary 1 Cent Life Portfolio, one of the most important and celebrated artistic collaborations of the 1960s. Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Pop Artist Claes Oldenburg, along with the European COBRA artists to create the definitive artistic portfolio, with text by Walasse Ting. The Deluxe edition, which features hand signed prints was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Claes Oldenburg lithograph...

Richard Meier Kabbalah, 2011 Silkscreen collage with hand-coloring and photography sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard M...

Print without matte is 19" X 13". Michael Knigin was born in 1942 in Brooklyn, NY. He attended and graduated from Tyler School of Art, Temple University. He received a Ford Founda...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...