Conceptual Art

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over 25 years, they made a significant contribution to po...

Collage and Painted mixed media artwork painting. Born 1930 in Chile, Golomb immigrated to Palestine in 1935. He later became a member of the Radius Group and an instructor at the A...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Target Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: 41.25 in. x 29.75 in. (104.78 cm x 75.5...

Dennis Oppenheim Image Intervention (Hand Signed), 1984 Offset Lithograph (hand signed and dated by Dennis Oppenheim) Hand signed and dated on the middle front 28 × 20 inches Unframe...

Joseph Beuys, Hasengrab II, 1982, Color print on paper, 15 x 10.5 cm (paper), 27 x 22 x 3.5 cm (Frame), signed on front, Staeck Edition, Heidelberg. Bibliography: J. Schelmann: S. ...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Sheep 7 Year: 1981 Medium: Serigraph and Etching, signed in pencil Edition: 65, AP 5 Size: 33.5 x 31 in. (85.09 x 78.74 cm)

General Idea formed in 1967 in Toronto and over the next nearly 30 years, the trio made a remarkable contribution to post-modern art. With their subversive approach and interest in...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. General Idea was both prolific and multi-disciplinary long before it became de rigueur. Together, they worked across photography, sculpture, painting, mail art, video, installation, multiples, and performance. The group also made a significant number of unconventional editioned works and was inspired by the idea of the anti-art object. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. They were particularly interested in (European) crests used for centuries to represent a city, district, or even a creative or professional guild. General Idea both appropriated and reinterpreted existing crests (often by replacing a lion with a poodle) as well as creating crests that were entirely of their own imagination. Between 1988 and 1989, General Idea created 8 chenille crests with some of their most iconic motifs. These crests recalled their traditional European antecedents and the aesthetics of high-school sports teams and varsity jackets. "Ouroboros" features General Idea's most famous mascot, the poodle, who mimics the lion's pose often seen in traditional European iconography. Entangled in the twists and curls of its tail, the poodle appears to be consuming the tip of it, embodying the full 'ouroboros' or circle of life. Completed in a menacing palette of black, forest green, and electric red, this design is a classic General Idea; subversive, zany, and mischievous. While these crests were intended to be an unlimited edition, according to the General Idea Editions catalog raisonné, less than 100...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contribution to postmodern and conceptual art in Canada and beyond. General Idea was both prolific and multi-disciplinary long before it became de rigueur. Together, they worked across photography, sculpture, painting, mail art, video, installation, multiples, and performance. The group also made a significant number of unconventional editioned works and were inspired by the idea of the anti-art object. Thematic continuity was a key element in General Idea's work. Early on they introduced talismans or logos that they would revisit and re-envision, including skulls, ziggurats, and poodles. They were particularly interested in (European) crests used for centuries to represent a city, district, or even a creative or professional guild. General Idea both appropriated and reinterpreted existing crests (often by replacing a lion with a poodle) as well as creating crests that were entirely of their own imagination. Between 1988 and 1989, General Idea created 8 chenille crests with some of their most iconic motifs. These crests recalled their traditional European antecedents and the aesthetics of high-school sports teams and varsity jackets. "When the Fur Flies" is the most colorful and curious example from the series. A pink poodle, which appears almost as a curly abstraction, mimics the lion's pose often seen in traditional European iconography. Behind the famous General Idea mascot are stylized three yellow mushroom clouds. This design is a classic General Idea; subversive, zany, queer, and mischievous. While these crests were intended to be an unlimited edition, according to the General Idea Editions catalog raisonné, less than 100...

These are vintage prints from the 1980's. The last photo shows a gallery or museum label from an accompanying piece (there were three sequence shots in this series) but is not on thi...

These are vintage prints from the 1980's. The last photo shows of a label from an accompanying piece (there were three sequence shots in this series) but is not on this piece. They l...

Joseph Beuys Stripes from the House of the Shaman (Hand Signed), 1980 Offset lithograph hand signed by Joseph Beuys Boldly signed on the recto in graphite pencil by Joseph Beuys Published by: Anthony D'Offay Gallery, London Frame included: held in original vintage frame From the estate and collection of artist Tom Levine. Very rare when hand signed as is the present work. Vintage frame is included with this work. (see other photos) Measurements: Framed: 32.5 inches (vertical) by 24 inches (horizontal) by 1 inch (depth) Print: 28.5 inches (vertical) by 19.5 inches (horizontal) More about Joseph Beuys: Joseph Beuys, who is recognized as one of the most influential artists of the postwar period, had a grand and ambitious goal for his work: the transformation of Western culture into a more peaceful, democratic, and creative milieu. His multifaceted career, which included sculpture, performance, lectures, activism, and even a campaign for elected office, were all part of an “expanded concept of art” that was aimed at advancing his utopian vision. In all its forms, his work is dense and highly allusive and draws on much of the accumulated knowledge of Western civilization, including history, religion, natural sciences, economic theory, and myth. A charismatic teacher, Beuys was mentor to a generation of younger artists who were inspired by his passionate fusion of art, life, and activism. Service in World War II Beuys was born in Krefeld, Germany, and as a youth pursued dual interests in art and the natural sciences. In 1940, at age 19, he joined the German air force. During his 5 years of service, he was wounded several times and interned in a British prisoner-of-war camp. He returned home in 1945 physically and emotionally depleted, and spent nearly a decade recuperating on a friend’s farm, where he made hundreds of drawings and small sculptures. Coming to terms with his involvement in World War II would be a lifelong process that informed much of his art. Teaching at the Düsseldorf Art Academy, Sled After the war, Beuys decided to dedicate himself to art. In 1961, he was appointed to a professorship at the Düsseldorf Art Academy and soon became the school’s most sought-after teacher. At the same time, he began to develop his sculptural practice. One of his best-known works from this period is Sled (1969), which he called a “survival kit”: an elemental means of transport carrying a felt blanket...

John Baldessari Flowers of Life for Central America/Flores de Vida por Centro America (Hand Signed), 1984 Rare Offset Lithograph (Hand signed by Baldessari) 24 3/5 × 18 inches Boldly signed in white sharpie by Baldessari lower front The regular, unsigned edition was only approx. 100, though the present work was, exceptionally, uniquely hand signed by the artist Extremely rare vintage political poster...

A very good impression of this color screenprint on Fabriano Bütten smooth 300 Gram paper. Signed and numbered 12/100 in pencil by Lewitt. Printed and published by Editions Domberger...

Braco D. Slobodan "Braco" Dimitrijević (born 18 June 1948) is a Paris-based Bosnian and Yugoslavian conceptual artist. His works deal mainly with history and the individual's place ...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with an emphasis on text, is consistently provocative and occasionally frightening, manipulating the language of both pop culture and government slogan to produce commentary on global issues notably power structures and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York and other cities. Composed of anonymous statements, printed on friendly or calm colored papers, the statements were influenced by writings of major political figures such as Emma Goldman...

John Baldessari The Sprinters, 1982 Limited Edition Offset Lithograph on Parson's Diploma paper Signed in graphite on the front. Accompanied by letter of authenticity from the publisher 36 x 24 inches Unframed Accompanied by a letter of authenticity from the publisher on Olympic Committee letterhead. This is one of 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics . Even though the signed edition is 750, the publisher is said to have sold fewer than 200 and destroyed the rest; hence signed editions of this print are far more scarce than the edition suggests. The Olympic Committee commissioned 15 nationally known artists, including to create unique designs to promote the event. This was John Baldessari's contribution to the portfolio - cleverly juxtaposing a modern day race, with ancient images, tying old and new and honoring the ancient Olympic tradition. In 2017, the Olympic Museum in Lausanne Switzerland...

General Idea was formed in 1967 in Toronto and over the next nearly 30 years, the trio made a remarkable contribution to post-modern art. With their subversive approach and intere...

Born in 1958. At his first personal exhibition (greeted by "Le Matin"), he is still a high school student. At the workshops of the Ecole des Beaux-Arts in Paris, he prefers the personal research on the questioning of the paint of the painting that he does not hesitate to exhibit in the Salons (Big and Young, May, etc. ...) and which is split up with a mystic and barbarous vision applied to the installation, at Land-art. In 1983, on his first visit to the USA, discovers the Hopi in the heart of the "American Dream". Violence of the figure. He then weaves in New York, Toulouse, Brussels, Paris the conjunction installation-drawing over many galleries. In 1988, he entered the Galerie Krif (Paris) and immersed himself in the myth of Moby Dick. Many exhibitions (Brussels, Tarbes, Lyon, Rennes) while teaching at the School of Fine Arts in Bourges. Henri Basmadjian died in December 1993. Homage to Furea Koral's 40th Year in Art showed with Osman Dinç, Song S, Daniel Buren Ten Artists Ten Works: Henri Basmadjian, Canan Beykal, John Latham, Osman Dinç Sabri Berkel

Marina Abramović & Ulay Sun and the Moon (Hand Signed Poster), 1987 Offset Lithograph Poster Uniquely iigned in ink pen on the front) by BOTH Marina Abramovic and Ulay 25.5 x 19 inches Unframed Extremely uncommon and historic hand signed vintage offset lithograph poster published on the occasion of Marina Abramovic' "Sun and Moon" performance in the late 1980s at the University Art Gallery in San Diego, California by Marina Abramovic and Ulay. The performance artwork took place earlier in their careers. This exhibition poster depicts Marina mysteriously cloaked in a white hooded garment during a live performance. The print was published in an unknown limited edition; the work is uniquely signed by Marina Abramovic. A rare, historic poster...

The tortoise and the hare. Original color aquatint and etching, 1983. Edition of 150 signed and numbered impressions on Arches paper. Art and Sport portfolio: The Yugoslav Olympic Committee of the Winter Olympic Games Sarajevo...

Sorry for the reflection on the plexi. In the early 1980s, the Polaroid Foundation invited Hungarian-born painter and photographer György Kepes (1906-2001) to use the 20x24 Polaroid camera. The resulting carefully staged compositions summarize many of his artistic concerns, employing such objects as prisms, flowers, and graphic papers to manipulate the effects of light and form. György Kepes 1906-2001 was a Hungarian-born painter, photographer, designer, educator, and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974. Kepes was born in Selyp, Hungary. His younger brother was Imre Kepes, ambassador in Argentina, father of András Kepes journalist, documentary filmmaker and author. At age 18, he enrolled at the Royal Academy of Fine Arts in Budapest, where he studied for four years with Istvan Csok, a Hungarian impressionist painter. In the same period, he was also influenced by the socialist avant-garde poet and painter Lajos Kassak. Kepes gave up painting temporarily and turned instead to filmmaking. In 1930, he settled in Berlin, where he worked as a publication, exhibition and stage designer. Around this time, he designed the dust jacket for Gestalt psychologist Rudolf Arnheim's famous book, Film als Kunst (Film as Art), one of the first published books on film theory. In Berlin, he was also invited to join the design studio of Laszlo Moholy-Nagy, the Hungarian photographer who had taught at the Dessau Bauhaus. When, in 1936, Moholy relocated his design studio to London, Kepes joined him there as well. Kepes was lured to Brooklyn College by Russian-born architect Serge Chermayeff, who had been appointed chair of the Art Department in 1942. There he taught graphic artists such as Saul Bass. In 1944, he published Language of Vision, an influential book about design and design education. In part, the book was important because it predated three other influential texts on the same subject: Paul Rand, Thoughts on Design (1946), László Moholy-Nagy, Vision in Motion (1947), and Rudolf Arnheim, Art and Visual Perception (1954). In 1947, Kepes accepted an invitation from the School of Architecture and Planning at MIT to initiate a program there in visual design, a division that later became the Center for Advanced Visual Studies (c1968). Some of the Center's early fellows included artists Otto Piene, Vassilakis Takis, Jack Burnham, Wen-Ying Tsai, Stan Vanderbeek, Maryanne Amacher, Joan Brigham, Lowry Burgess, Peter Campus, Muriel Cooper, Douglas Davis, Susan Gamble, Dieter Jung, Piotr Kowalski, Charlotte Moorman, Antoni Muntadas, Yvonne Rainer, Keiko Prince, Alan Sonfist, Aldo Tambellini, Joe Davis, Bill Seaman, Tamiko Thiel, Alejandro Sina, Don Ritter, Luc Courchesne, and Bill Parker...

Keith Haring (1958–1990) is one of the most celebrated and widely recognized (graffiti) artists of all time. His iconic imagery emerged on the subway walls of New York City in the early 1980s, breaking the barrier between high art and street art almost overnight. Haring’s art was accessible to the masses, both physically and visually, without pretence or irony and full of optimism. Haring’s distinctive, cartoon-like figures are a defining motif throughout his oeuvre. Thick, confident lines and simple stylized forms create a visual language that is instantly recognizable and accessible to all levels of viewership. Often combined with hypnotic and vibrating hues, Haring's aesthetic evokes a sense of light-heartedness, even when dealing with serious subject matter (such as AIDS or drug addiction) As Haring established himself in the art world, elements of advocacy increased throughout his practice, with a particular focus on HIV/AIDS awareness. A testimony to his activism, this screenprint was created for the Art Attack On AIDS...

The size is as indicated here. the size on sticker is off. 1948 Born in Toyama Prefecture 1973 Dokuritsu Bijyutsu exhibition, Tokyo Metropolitan Art Museum Record of Awards 1977 Dai-ichi Bijyutsu Award at the Dai-ichi Bijyutsu Exhibition, Tokyo Metropolitan Art Museum in Tokyo 1979 Prefectural Assembly Chairman Award at Kanagawa Prefectural Art Exhibition, Kanagawa Prefectural Gallery in Kanagawa 1987 Special Honorable Prize at Ueno Royal Museum Grand Prize Exhibition, Ueno Royal Museum in Tokyo Silver Award at INF International Art Exhibition in Kobe, Japan and China 1988 Ceramic Art Award at the Contemporary Ceramic Art...

Unique work by famous Israeli artist, Menashe Kadishman. Made witht he artist's signature style.

The photograph Toshio Shibata, #189 Yunoyani Village, Nigata Prefecture, 1989 by Japanese photographer Toshio Shibata is hand-signed (on recto) by the photographer. The 13" x 19" pri...

Original subway poster, c. 1980, on wove paper, unsigned as issued, 28 x 71.3 cm. 'Surveillance Is Your Busywork' is an unused subway lithograph placard, produced in the early 80s b...

TECHNICAL INFORMATION: John Baldessari Two Figures (One with Shadow), from Hegel's Cellar Portfolio 1986 Photogravure and sugar-lift acquatint on torn Rives BFK deckle, printed almo...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with its emphasis on text, is provocative and occasionally frightening, manipulating the language of folk wisdom, pop culture, and government slogan to produce a commentary on global issues including power structures, gender struggle, economics, voting, and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York, and shortly after in other cities. Unsigned and commercially produced, they subverted the conventions of advertising, graffiti, and public art. Each essay was in a different eye-catching color to maximize viewers' attention. It was also helpful when one Essay replaced an older one. The texts were derived from her childhood interest in rapturous writings. Holzer tried to emulate a similar style for her essays, yet borrowed from political theorists (notably Mao, Lenin, and Emma Goldman...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with its emphasis on text, is provocative and occasionally frightening, manipulating the language of folk wisdom, pop culture, and government slogan to produce a commentary on global issues including power structures, gender struggle, economics, voting, and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York, and shortly after in other cities. Unsigned and commercially produced, they subverted the conventions of advertising, graffiti, and public art. Each essay was in a different eye-catching color to maximize viewers' attention. It was also helpful when one Essay replaced an older one. The texts were derived from her childhood interest in rapturous writings. Holzer tried to emulate a similar style for her essays, yet borrowed from political theorists (notably Mao, Lenin, and Emma Goldman...

Rimma Gerlovina and Valeriy Gerlovin Compass, 1988 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 12.5 h × 12.5w × 4 d in (30 × 30 × 6 cm) Rimma Gerlovina and Valeriy Gerlovin were founding members of the underground conceptual movement Samizdat in the Soviet Union, described in their book Russian Samizdat Art. Based on a play of paradoxes, their work is rich with philosophic and mythological implications, reflected in their writing as well. Their book Concepts was published in Russia in 2012. The work by Rimma Gerlovina and Valeriy Gerlovin is emphatically contemporary. The artist couple were part of the Moscow Conceptualists, their performance Costumes, from 1977, deepened their ongoing work with linguistic semiotic systems and their own bodies. Considering the context in which Gerlovina and Gerlovin made their work—that of political restrictions on public life, of unfreedom, and censorship—their collaborative togetherness must also be read as a space of possibility for political community and resistance. Rimma Gerlovina’s hair is featured prominently in the art of the Gerlovins as a constructing element of the body. Used for the linear drawings her braids transmit transpersonal waves reminiscent of an aura of live filaments. Long loose hairs function as threads of life; streaming in abundance, they allude to Aphrodisiac vitality and Samsonian strength. On the other hand, they are the haircloth worn during mourning and penitence. In New York they continued to make sculptural objects, and their photographic projects grew into an extended series called Photoglyphs. In their photographs, they use their own faces to explore the nature of thought and what lies beyond it. Since coming to the United States in 1980, they had many exhibitions in galleries and museums including the Art Institute of Chicago. The New Orleans Museum of Art launched a retrospective of their photography, which traveled to fifteen cities. Group exhibitions include the Venice Biennale, the Guggenheim Museum, New York, Smithsonian National Museum of American Art, Washington D.C., Bonn Kunsthalle, Germany, Tokyo Metropolitan Museum of Photography, State Tretyakov Gallery, Moscow, and others. Samizdat or “self-published” began in the Soviet Union, and Samizdat art consists mainly of books and magazines published and distributed by the artists who made them. Samizdat art has sources in the innovative books and magazines turned out by the early 20th century Russian avant-garde—artists and writers like Olga Rozanova, Vladimir Mayakovsky, El Lissitzky, and Alexander Rodchenko. Artists as varied as Alexander Archipenko, Leon Bakst, Marc Chagall, Naum Gabo, Alexandra Exter...

Rimma Gerlovina and Valeriy Gerlovin Clock, 1987-94 Aluminum sculpture, mixed media and c-print photograph construction, c-print, felt tip marker 13 h × 13 w × 4 d in (30 × 30 × 6 cm) Rimma Gerlovina and Valeriy Gerlovin were founding members of the underground conceptual movement Samizdat in the Soviet Union, described in their book Russian Samizdat Art. Based on a play of paradoxes, their work is rich with philosophic and mythological implications, reflected in their writing as well. Their book Concepts was published in Russia in 2012. The work by Rimma Gerlovina and Valeriy Gerlovin is emphatically contemporary. The artist couple were part of the Moscow Conceptualists, their performance Costumes, from 1977, deepened their ongoing work with linguistic semiotic systems and their own bodies. Considering the context in which Gerlovina and Gerlovin made their work—that of political restrictions on public life, of unfreedom, and censorship—their collaborative togetherness must also be read as a space of possibility for political community and resistance. Rimma Gerlovina’s hair is featured prominently in the art of the Gerlovins as a constructing element of the body. Used for the linear drawings her braids transmit transpersonal waves reminiscent of an aura of live filaments. Long loose hairs function as threads of life; streaming in abundance, they allude to Aphrodisiac vitality and Samsonian strength. On the other hand, they are the haircloth worn during mourning and penitence. In New York they continued to make sculptural objects, and their photographic projects grew into an extended series called Photoglyphs. In their photographs, they use their own faces to explore the nature of thought and what lies beyond it. Since coming to the United States in 1980, they had many exhibitions in galleries and museums including the Art Institute of Chicago. The New Orleans Museum of Art launched a retrospective of their photography, which traveled to fifteen cities. Group exhibitions include the Venice Biennale, the Guggenheim Museum, New York, Smithsonian National Museum of American Art, Washington D.C., Bonn Kunsthalle, Germany, Tokyo Metropolitan Museum of Photography, State Tretyakov Gallery, Moscow, and others. Samizdat or “self-published” began in the Soviet Union, and Samizdat art consists mainly of books and magazines published and distributed by the artists who made them. Samizdat art has sources in the innovative books and magazines turned out by the early 20th century Russian avant-garde—artists and writers like Olga Rozanova, Vladimir Mayakovsky, El Lissitzky, and Alexander Rodchenko. Artists as varied as Alexander Archipenko, Leon Bakst, Marc Chagall, Naum Gabo, Alexandra Exter...

Grass, blue abstract photography from the Richard Heeps series Ordinary Places, photographing Britain on the brink of change. It was Richard's first colour collection and was shot be...

Hubcap, subtle interior photography from the Richard Heeps series Ordinary Places, photographing Britain on the brink of change. It was Richard's first colour collection and was shot...

Please ignore the glare on the glass. Rare, early, signed and dated (verso) 1987 vintage silver gelatin print. this is one of a kind and not editioned according to correspondence I have from his studio. this is one of three. one of them has a label from Triton gallery in NYC (on the others you can see where it was) Image size is 13 x 8.75 inches (33.02 x 22.23 cm.) paper is 14X11 inches David LaChapelle (born March 11, 1963) is an American commercial photographer, fine-art photographer, music video director, film director, and artist. He is best known for his photography, which often references art history and sometimes conveys social messages. His photographic style has been described as "hyper-real and slyly subversive" and as "kitsch pop surrealism." One 1996 article called him the "Fellini of photography," a phrase that continues to be applied to him. David LaChapelle's photography career began in the 1980's in New York City galleries. After attending the North Carolina School of Arts, he moved to New York where he enrolled at both the Art Students League and the School of Visual Arts. With shows at 303 GalleryLaChapelle which also exhibited artists such as Doug Aitken and Karen Kilimnik , Trabia McAffee and others, his work caught the eye of Andy Warhol and the editors of Interview Magazine, who offered him his first professional photography job. LaChapelle's friends during this period included Keith Haring and Jean-Michel Basquiat Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. LaChapelle cites a number of artists who have influenced his photography. In a 2009 interview, he mentioned the Baroque painters Andrea Pozzo and Caravaggio as two of his favorites.[23] Critics have noted that LaChapelle's work has been influenced by Salvador Dalí, Jeff Koons, Michelangelo, Cindy Sherman, and Andy Warhol. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong...

1984 Unique artwork Charcoal, cardboard, collage on paper Signed, dated and titled lower right Registered under the inventory number bv84d5 at Bernar Venet Studio 70.5 x 113.5 cm   ...

East of Lancaster, CA by Robbert Flick is a 16 x 20 in silver gelatin print. This print features 49 small images of black and white landscapes presented in a grid. Each image measures 1 5/8 x 2 1/8 inches. This print is from Robbert Flick's Sequential Views series from his America Roads Portfolio. It is signed, titled and dated by Robbert Flick. Robbert Flick, Professor Emeritus, is a Southern California artist who uses photography as his primary medium. He has been exhibiting his photographs for over 50 years and his work has been shown and collected by numerous private and public venues both nationally and internationally. He is the recipient of multiple fellowships and in 2001 was the recipient of a Guggenheim Fellowship in Creative Arts. The retrospective Robbert Flick: Trajectorieswas shown at the Los Angeles County Museum of Art in 2004 accompanied by a comprehensive exhibition catalog co-published by LACMA and Steidl. In 2016 Nazraeli Press published “Robbert Flick LA Diary”. He is represented by ROSE Gallery in Santa Monica and Robert Mann...

Shipping will be a bit longer as this piece is located in Israel Michail Grobman, Israeli, born in Soviet Union, 1939. Michail Grobman was born in Moscow. He grew up writing poetry, essays and literary prose. In the 1960s, he was active in the Second Russian Avant-garde movement in the Soviet Union. In 1971, he immigrated to Israel. In 1975, he established the Leviathan school together with Avraham Ofek and Shmuel Ackerman, seeking to combine symbolism, metaphysics and Judaism in an all-inclusive “national style.” Grobman’s work employs images and symbols from Jewish mysticism and Kabbalah. His paintings incorporate texts in Russian and Hebrew. In addition to his artistic endeavors, he writes about art and aesthetics. The group combined conceptual art and "land art" with Jewish symbolism. Of the three of them Avraham Ofek had the deepest interest in sculpture and its relationship to religious symbolism and images. In one series of his works Ofek used mirrors to project Hebrew letters, words with religious or cabbalistic significance, and other images onto soil or man-made structures. In his work "Letters of Light" (1979), for example, the letters were projected onto people and fabrics and the soil of the Judean Desert. In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture Date of Birth: 1939, Moscow 1960s Active member of The Second Russian Avantgarde 1967 Member of the Moscow Painters Association 1971 Immigrated to Israel and settled in Jerusalem 1975 Founded the Leviathan group and art periodical (in Russian) Since 1983 Lives and works in Tel Aviv . Selected Solo Exhibitions: 2002 Pavilion Zveta Zuzovich, "The Last Sky", Belgrad (cat: Irena Subotitch) 1999 The State Russian Museum, ST. Petersburg 1998 "Picture = Symbol + Concept", Herzliya Museum of Art, Herzliya 1995 "Password and Image", University Gallery, Haifa University 1990 Tova Osman Gallery, Tel Aviv 1989 "The Beautiful Sixties in Moscow", The Genia Schreiber University Art Gallery, Tel Aviv University (with llya Kabakov; cat. text: Mordechai Omer] Spertus Museum, Chicago Beit Rami and Uri Nechushtan, Ashdot Yaacov (leaflet) 1972 Nora Gallery, Jerusalem 1973 - Negev Museum, Beer Sheva 1971 Tel Aviv Museum of Art (cat. text: Haim Gamzu) 1966 Mos-lng-Projekt, Moscow 1965 Artist's House, Moscow Energy Institute, Moscow History Institute, Moscow Usti-nad-Orlicy Theatre,Czechoslovakia (leaflet text: Dushan Konetchni) 1959 Mukhina Art Institute, Leningrad . Selected Group Exhibitions: 2003 "Yes do yourself...", Regeneration of Judaism in Israeli art, Zman Omanut Tel Aviv (cat: Gideon Ofrat) 1999 "Russian post-war avantgarde", The Trajsman Collection in the State Russian Museum, St. Petersburg Tretjakov National Gallery, Moscow (cat. text: Yevgenij Barabanov, John Bolt...

Collage and Painted mixed media artwork painting. Born 1930 in Chile, Golomb immigrated to Palestine in 1935. He later became a member of the Radius Group and an instructor at the Avni Institute, Tel Aviv. He had 20 one-man shows and participated in numerous exhibitions. Golomb has been using oils, tempera, acrylic, encaustic and pencil to produce his works often based on musical associations. Education: With Canadian, Barry Ortzki, a pupil of Henry Moore, and studied painting in tempera with Ernst Fuchs and Wolfgang Manner, Reichenau, Austria Studied drawing with Esther Peretz Arad and Avinoam Kosowsky Teaching Avni Institute, Tel Aviv Group Exhibition, Radius, Tel Aviv 11 February, 1984 - 7 March, 1984 Artists: Shimon Avni, Lea Nikel...

Artist: Christo, Bulgarian (1935 - ) Title: Allied Chemical Tower, Packed, Project for Number 1 Times Square from "(Some) Not Realized Projects" portfolio Year: 1971 Medium: Lithogra...

Christian Boltanski, El Caso, Parkett., Zürich. 1989 in the collection of the MOMA Museum of Modern Art NYC Miniature booklet with 17 photographs, 2 x 3 1/8” (5 x 8 x 0,6 cm) ring bound with perspex covers and printed title Ed. 80/XX, signed and numbered (this one is not signed or numbered and might be an artist proof) Guilty, Not Guilty. Themes central to Boltanski’s oeuvre find devastating expression in this tiny piece of pocket pornography containing images of brutal murder re-photographed by the artist from the Spanish detective magazine El Caso. [Ref. Bob Calle - Christian Boltanski Artist's Books 1969-2007, p.60]. Artists' book featuring 17 b/w photographs held together with two metal rings: "Luxury edition of a booklet with real glossy photographs, small enough to be hidden behind the hand... It pictures the bodies of victims of violent crime. By showing these photographs of half-naked corpses, bought nearer by close-up shots, the artist transforms the viewer into a voyeur who virtually becomes a sadistic partner in the crime." -- from Catalogue: Books, Printed Matter, Ephemera 1966-1991. references "Livres" by Christian Boltanski. Paris / Köln / Frankfurt, France / Germany : AFAA / Jennifer Flay / Walther König / Portikus, 1991. No. 69 in "Christian Boltanski : Catalogue: Books, Printed Matter, Ephemera, 1966-1991" by Christian Boltanski, Jennifer Flay, Günter Metken. Köln / Frankfurt, Germany : Verlag der Buchhandlung Walther König / Portikus, 1992, pp. 184 - 185. "Christian Boltanski : Artist's Books 1969 - 2007" by Christian Boltanski, Bob Calle. Paris, France : Éditions 591, 2008, pp. 60. Quote “There is in the work of the artist something of the high priest and something of the charlatan...

The painting is being offered with a work and an authenticity certificate

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Sheep Portfolio 1 Year: 1981 Medium: Serigraph and Etching, signed in pencil Edition: 65, AP 5 Size: 33.5 x 31 in. (85.09 x 7...

the painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Screen print by Dmitri Alexandrowitsch Prigow from the portfolio "Kinderstern". "No Title", 1989 76 x 58 cm Copy 61/100 Edition of 100 (approx.)

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Peter Saari is an American artist who's work aims to re-invent antiquity through recreating ancient wall paintings and decoration. Provenance: Lamanga Gal...