Advertising Sculptures

This piece titled "Lucky Restaurant" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measures 10"h x 0.75...

Denied Warhol Brillo Box, Contemporary Pop Art Sculpture by Charles Lutz. Silkscreen and latex paint on wood, stamped Denied with the Andy Warhol Art Authentication Board's mark. 17...

Set of 4 Denied Warhol Contemporary Pop Art Sculptures by Charles Lutz. Silkscreen and latex paint on wood in 4 parts, stamped Denied with the Andy Warhol Art Authentication Board's mark. 62 x 21" overall Each measures: Kellogg's 25 x 21 x 17" White Brillo 17 x 14 x 17" Yellow Brillo 13 x 16 x 11.5" Heinz 8.5 x 15.5 x 10.5" 2008 Lutz's 2007 ''Warhol Denied'' series gained him international attention calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" works authored by Lutz. Andy Warhol's Brillo Boxes were originally created in 1964 and are easily his most iconic sculptures, rivaling paintings like Liz Taylor, Marilyn Monroe, Elvis, Campbell's Soup Cans, Flowers and Electric Chairs. These highly prized sculptures continue to soar in value and were the subject of a recent HBO documentary, “Brillo Box (3¢ Off)”, which also included Charles Lutz. Lutz, also known for the installation work Babel, exhibited at the 2013 Armory Fair in New York City which caused near riots as he invited the fair goers to take cardboard versions of the Brillo Box Sculptures. "In the mid-1960s, Warhol carried his consumer-product imagery into the realm of sculpture. Calling to mind a factory assembly line, Warhol employed carpenters to construct numerous plywood boxes identical in size and shape to supermarket cartons. With assistance from Gerard Malanga and Billy Linich, he painted and silkscreened the boxes with different consumer product logos: Kellogg’s Corn Flakes...

"Juicy Juice" Pop Art Sculpture 24" x 12" x 8" inch Edition 1/1 by Kii Arens ABOUT One of the most credible and influential in Los Angeles - the award winni...

This artwork titled "Cornbread Lives Canvas II," is an original artwork by Cornbread made of acrylic paint on canvas. The piece measures 12”h x 12”w and ships with Gallery-Issued Cer...

Robert Motherwell signed Carnegie Hall Numbered Ap 23/25 Unframed. 30x23 in good condition

This piece titled "Erica's" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measures 110"h x .75"w x 8"h....

This piece titled "Don's Auto & Truck Repair" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measure...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. Johnson Hs. & Guest Hs. is an exact replica of an art history slide made in the 1950s picturing Philip Johnson’s Glass House. The slide has been replicated digitally on a much larger scale (23” x 23”) and like the original is made of a cardboard mount that contains a color transparency. The original slide is faded from years of use and most of the color, other than red, has been bleached out. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and ...

Size 26x26 edition 395 Signed lower right

A native of Charlotte, North Carolina, Paul Rousso attended the Cleveland Institute of Art in Ohio and went on to earn his BFA from the California College of the Arts in 1981. In his...

"Trans Youth - Body of a boy/girl, mind of a monster, soul of an unearthly thing. Prejudice against transgender people is widespread." KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

SKYLAR FEIN was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a gay film festival in Seattle, stringing for The New York Times and as pre-med student at University of New Orleans where he moved one week before Hurricane Katrina hit. In the wreckage of New Orleans, Fein found his new calling as an artist, experimenting with color and composition of the detritus of Katrina. His work soon became known for its pop sensibility as well as its hard-nosed politics. After a few starring roles in group shows, he had his first solo show in May 2008 at Jonathan Ferrara Gallery in New Orleans. In the fall of 2008, his Prospect.1: Biennial installation, "Remember the Upstairs Lounge," shined a spotlight on an overlooked piece of New Orleans history: a fire that swept through a French Quarter bar in 1973, killing everyone inside. The worst fire in New Orleans history has never been solved. His installation walked visitors right through the swinging bar doors, and offered visual riffs on politics and sexuality circa 1973. The piece was praised in Artforum, Art In America, The New York Times Magazine and The New Yorker, among others. In late 2009, Fein had his first solo museum show, "Youth Manifesto," at the New Orleans Museum of Art. The exhibition was an ode to punk rock as a force for social and cultural upheaval. True to form, the opening reception was shut down by police responding to the look of the unlikely art-going crowd. In March 2010, Jonathan Ferrara Gallery presented Fein's solo installation, “Skylar Fein: Rise of the Youth Front" at VOLTA Art Fair in New York during Armory Week. This installation drew thousands of people and delved into revolutionary politics past and present, a continuing theme in Fein's work. In May 2010,Fein was invited by the New York curatorial project No Longer Empty to recreate his "Remember the Upstairs Lounge" installation in a vacant Chelsea space. The exhibition, once again, drew thousands of visitors and sparked renewed interest in this piece of history. In September 2011, Fein exhibited over eighty new works in his solo exhibition Junk Shot at Jonathan Ferrara Gallery, New Orleans. This exhibition embodied this artist’s turn towards formalism and art historical reference while maintaining Fein’s iconic sensibilities and aesthetic. Fein's solo exhibition "Beckett at War" in September 2012 at C24 Gallery in Chelsea was praised as one of the top ten exhibitions of the year in New York, in The Village Voice. He followed that up with his November 2013 installation of "The Lincoln Bedroom" which received wide media attention. Fein unveiled his “Giant Metal Matchbook” series in his 2014 solo exhibition at Jonathan Ferrara Gallery. Since then, the series has been exhibited nationally at art fairs including a solo presentation at VOLTA NY, as well as, Miami Project for Art Basel Miami Beach, Texas Contemporary, artMRKT San Francisco, and the Seattle Art Fair - and has continued to gain momentum in rave reviews and collector acquisitions. Skylar Fein was the recipient of a 2009 Joan Mitchell Foundation Award and his work is in several prominent collections including The Whitney Museum of American Art, The Brooklyn Museum, The Frederick R. Weisman Art Foundation, The Louisiana State Museum, The Birmingham Museum of Art, the New Orleans Museum of Art, curators Dan Cameron and Bill Arning, and collectors Beth Rudin DeWoody, Lance Armstrong, Lawrence Benenson, Brooke Garber...

Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historical perspective. A process-drive...

Skylar Fein was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a g...