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AlbenM for McDo - Pop Art Sculptures2019-
2019-
On Hold
$12,000
On Hold
£9,180.11
On Hold
€10,558.19
On Hold
CA$17,137.53
On Hold
A$18,890.24
On Hold
CHF 9,760.71
On Hold
MX$225,819.43
On Hold
NOK 122,789.13
On Hold
SEK 115,404.30
On Hold
DKK 78,860.36
About the Item
Cheeky references to pop culture and the societal context.
Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including Pop and Classical art. Interested in street art, the self-taught artist references an array of cultural touchstones in his densely layered, often stencil-sprayed paintings; his allusions include corporate mascots, historical figures, actors, comic book characters, and artists. His sculpture similarly embraces popular culture, though it is also directly influenced by the work of the French artist Arman, who exhibited commercial objects as sculpture in the 1960s. Similarly insisting that popular culture and aesthetic production are linked, Alben inverts Arman’s structure by reimagining touchstones of art history such as the Venus de Milo as a configuration of crushed Coke cans
- Creator:Alben (French)
- Creation Year:2019-
- Dimensions:Height: 34.75 in (88.27 cm)Width: 32.5 in (82.55 cm)Depth: 3.5 in (8.89 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1566212157822
Alben
Grounded in a postmodern vernacular, Alben’s paintings and sculptures are a pastiche of art historical moments including Pop and Classical art. Interested in street art, the self-taught artist references an array of cultural touchstones in his densely layered, often stencil-sprayed paintings; his allusions include corporate mascots, historical figures, actors, comic book characters, and artists. His sculpture similarly embraces popular culture, though it is also directly influenced by the work of the French artist Arman, who exhibited commercial objects as sculpture in the 1960s. Similarly insisting that popular culture and aesthetic production are linked, Alben inverts Arman’s structure by reimagining touchstones of art history such as the Venus de Milo as a configuration of crushed Coke cans
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