Carton Sculptures

"Black Milk" is a one-of-a-kind piece created from Eustace Mamba, as part of his ongoing series of sewn mixed media cityscapes. This free-standing sculpture is made from sewing canv...

"LaFlat" is an original archival pigment print on cardboard box artwork by Kid Hazo measuring 5.5"h x 11"w x 5.25"d. This is an edition of 13. kid hazo (pronounced has•ohh) is a Phi...

"Brillo Box Pink" Pop Art Sculpture 17" x 17.5" x 14" in Ed. 1/1 by Kii Arens ABOUT One of the most credible and influential in Los Angeles - the award winn...

"Brillo Box Green" Pop Art Sculpture 17" x 17.5" x 14" in Ed. 1/1 by Kii Arens ABOUT One of the most credible and influential in Los Angeles - the award win...

"Brillo Box Purple" Pop Art Sculpture 17" x 17.5" x 14" in Ed. 1/1 by Kii Arens ABOUT One of the most credible and influential in Los Angeles - the award wi...

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 x 14 x 17" 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...

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...

A piece from the exhibition "Cosmic Duality" by artist Mr. Mitote. Mitote is a term we use today to describe a lively, noisy, and excessive gathering. It’s also used to depict tumultuous gatherings marked by disorder, commotion, and sometimes even quarrels. In the colonial past, mitote was a celebration commemorating the establishment of the New Spain kingdom, blending local pride with imperial solemnity. However, throughout both ancient times and the present day, mitotes serve as rituals embedded in the culture and religiosity of various indigenous groups in Mexico, such as the Nahua, Cora, Tepehuan, and Huichol. Adorned in rich attire, gathered around a fire amidst the sounds of musical instruments, and under the intoxicating influence of alcoholic beverages, mitotes serve as occasions to invoke sacred beings—whether protective deities of nature or Christian saints associated with agriculture—to pray for bountiful harvests. Mitotes encompass and have always embodied rites, myths, and life. In homage to the artist’s name, this exhibition is presented as a mitote: a celebration displaying the intimate mythologies of its creator through various artistic expressions such as sculpture, artwork, and video. Cosmic Duality is a concept wherein Mr. Mitote delves into memories of his childhood from a contemporary perspective. His mother introduced him at a young age to the traditions and customs of her native Maltrata, Veracruz, a town steeped in the memory of a noble past wherein it fought for its autonomy. Every year on January 1st, to invoke prosperity, the dance of the huehues (meaning “old people” or “elders” in Nahuatl) is performed. According to oral and local traditions, these characters embody foes in a mocked and vanquished manner, dancing beneath the lash of a tiger or devil. Their costumes feature pre-Columbian symbols merged with elements evoking nature, alongside nods to contemporary entertainment culture. Through the observation and interpretation of nature, numerous ancestral cultures created dual cosmologies. Far from viewing opposites, they conceived of dual complementary systems such as chaos-order, cold-heat, humidity-drought, feminine-masculine, and life-death, among others, to uphold cosmic order. Placed within the context of Mexico City, Mr. Mitote reimagines these enduring principles from ancient religious practices alongside contemporary languages. He does so through vibrant entities that blend tradition and innovation, memory and fantasy, past and present, ancestral ceremonies, and urban rituals. Each artwork serves as a reminder that across all latitudes and human territories, culture thrives, tradition evolves continuously, the past is revitalized, and the present shapes the path forward into the future. The body has served as the quintessential conduit bridging two dual dimensions: the human and the divine, the earthly and the celestial, the microcosm and the macrocosm. In several of his artworks, Mr. Mitote invokes propitiatory dances, and ritual practices, aimed at attracting abundant rain and fostering good harvests, many of which entail risking the physical well-being and even the lives of participants. The tiger hunt...