Bernard Schultze

German Art Informel LOOKING IN THE LIGHTS, Assemblage, Collage Drawing

1967

May Wilson (1905–1986) was an American artist and figure in the 1960s New York City avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photo collages. Wilson was born in Baltimore, Maryland, into an underprivileged family. Her father died when she was young. She was reared by her Irish Catholic mother, who sewed piecework at home. Wilson left school after the ninth grade to become a stenographer/secretary to help support her family. When she turned 20, she married a young lawyer, William S. Wilson, Jr., and give birth to her first child. She continued to work until the birth of her second child, after which she devoted her energies primarily to mothering and homemaking. In 1942, the couple had prospered enough to move to Towson, Maryland, where she began to take correspondence courses in art and art history from several schools, including the University of Chicago. In 1948, after the marriage of their daughter, the couple moved to a gentleman's farm north of Towson, where she pursued painting and gave private art lessons to neighbors. She exhibited her paintings, scenes of everyday life painted in a flat, purposefully primitive manner in local galleries and restaurants. In 1952 and 1958, she won awards for work submitted to juried exhibitions at the Baltimore Museum of Art. In 1956, her son, the writer Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others. When her marriage dissolved, she moved to New York City in the spring of 1966, aged 61, taking up residence first in the Chelsea Hotel and then in a studio next door, where she threw legendary soirées and became known as the "Grandma Moses of the Underground". By the time she arrived, Wilson was already working with photomontage collage...

Measures about 3.75 X 3.5 inches. Box is 11 X 11 inches. (Piece is in excellent condition. box frame has some minor wear and piece might need to be remounted, it has been removed and...

Measures about 5.25 X 3.75 inches. Box is 17 X 13 inches. Signed by artist verso. From the literature that I have seen I believe the edition size was limited to 10, I do not know if ...

Vintage stylized figural sculpture by J James Akston (1898-1983 Poland/New York/Florida) Crafted of cast bronze with a rich dark brown patina. A sports figure, depicting a snow skiing or water surfing figure in a Mid Century Modern Brutalist style. Segmented torso with movable parts. Mounted to a variegated green marble base. Signed with artist signature on edge of ski or surf board. Bronze statue measures 13" x 10 1/2" Overall height with marble base 19 inches. (it is either a surfboard or a snowboard) Joseph James Akston was a Polish American sculptor, painter, known for surrealist abstract painting and Aubusson (for Les Ateliers Pinton Frères, tapisserie d'aubusson) tapestry artist. Born in Warsaw, Poland in 1898 he died in Palm Beach Florida in 1983. During the 1960s and '70s the entrepreneur-artist James Joseph Akston adopted a unique Surreal Expressionist style in order to present his private primordial universe and lampoon its denizens, a ribald cast of animal creatures with human foibles. A successful industrialist, he began his career with General Motors foreign operations and then started his own business. Intermittently he studied painting, first with Jerry Farnsworth...

Carlos Aguilar y Linares, Mexican Sculptor (1945-2010) Sculpture chose him. In his hands and his soul he always had the necessary impulse to create wi...

Akiko Sugiyama (Japanese/American, B.1947) Collage, Lucite Shadow Box Painting, mixed media Japanese paper sculpture in plexiglass display box...

I love this extraordinary American surrealist piece - a collage/montage, an assembly of objects in a velvet-clad box/frame - for a number of reasons reasons. I love the fact that it depicts pipes, among the most iconic images of the surrealist movement, rooted in Magritte’s famous 1929 painting which depicts a pipe accompanied by the caption “Ceci n'est pas une pipe” (This is not a pipe). Marcel Duchamp loved using pipes...

In this bright and colorful paper sculpture, a fantastical botanical form in vibrant teal green, dark magenta with gold and marbled pink, green, yellow and blue is composed of hand-c...

This vivid and sticking surrealist wall sculpture by artist Megan Dune was created with acrylic, glitter, thread and fabric on canvas and paper mache. Wha...

3-D sculpted multiple (to be hung on the wall) by British Pop Art pioneer Richard Smith: Richard Smith D from Logo Suite (Magenta), 1971 Silkscreen on 3-D Molded Plastic Over Wood P...

"Mirror" is a site specific installation that was exhibited in the show "Dialects of Place(s) by Land Report Collective at COOP Gallery in Nashville, TN. In this piece, Jobe uses industrial materials such as insulation foam, concrete, window screen, and graphite tracing paper to create a patterned structure that protrudes from the corner and carries the viewer's eye upward. At the bottom of the piece, we see delicately balanced concrete on top of pale blue insulation foam. The patterned concrete and insulation foam carries the viewer's eye upwards towards another pop of blue on top of the aluminum window screen frame. The screen gives the viewer a window in which to look through the piece. On one side, this mesh frames the graphite paper and on the other side the viewer can see the patterned concrete and insulation foam. Review from "The Rib" about "Mirror" One of the more surprising works here is Nashville-based Brian Jobe...

Eva Vargo fuses paper and linen-thread materials into her weaving techniques. No. 55 (Book of Changes) was hand woven with linen, thread, paper strings and g...