Toy Art

Heidler & Heeps Vinyl Collection Set of Three Framed Artworks. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

Exhibition poster "Composition" by Nicola De Maria Created for an exhibition at Galerie Lelong, Paris in October 1988 In great condition Minimal traces...

Travel poster made around the 1950s by the famous poster artist Hervé Morvan 🇫🇷 (1917-1980) to promote the flights to Tahiti of TAI, a former French ai...

Robert Anderson, American (1945 - 2010) - Watching and Waiting, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Size: 20 in. x 28 in. (50.8 cm x ...

ABOUT THE WORK: The love of the two iconic sculptures in pop culture by artist Michael Benisty. TECHNIQUE: Mold - Cast - color metal pour with polished finish

Puppets of Verona II Edition of 25 signed and numbered by the artist A big puppet requisite for the performance in the Arena di Verona in Italy. JJK is a pseudonym for one of the w...

Puppets of Verona II Edition of 25 signed and numbered by the artist A big puppet requisite for the performance in the Arena di Verona in Italy. JJK is a pseudonym for one of the w...

Fabric doll 7 x 3 x 2.5 inches This artwork is offered by ClampArt, located in New York City

Mike Mitchell - Lucy - Contemporary Artist Edition Details: Year: 2020 Class: Art Print Status: Official Released: 07/03/20 Technique: Giclee Paper: Cot...

Yoshitomo Nara Blankey Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

Other Side (Blue), from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to ...

Press Conference, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to m...

Set of 4 Limited Prints Depicting A Supersoaker, Boombox, Spiderman, and Michael Jordan's Famous Fleer Card Each sized at 8x10 inches Each an Edition of 50 Archival giclee print Signed, numbered, and dated by the artist 300 gsm hot press paper (matte finish) Printed in Beacon, New York Born in 1978, Adam Lister...

Heidler & Heeps Vinyl Collection Set of Three Framed Artworks. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have coll...

This series of portraits that at first glance appear to us as extraterrestrial beings, once we understand the images they become more familiar than they appear, “humans too human” pe...

Nobuyoshi ARAKI (*1940, Japan) 67 Shooting Back #GDN019, 2007 RP Direct print 50.8 x 60 cm (20 x 23 5/8 in.) Print only – Nobuyoshi Araki Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-ba...

Artist: Varvarov Anatoly Viktorovich Title: January First Sise: 53x61 inches, (135x155 cm) Medium: Oil on Canvas Hand painted, original, one of a kind. "January First" is an oil pai...

American Girl, part of Richard Heeps street photography collection, capturing city's raw history before they change in the face of development. The picture is classic of his style of...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

The artist's photographs capture the transformation of everyday life into another reality. Images that explore what the future will be like. Industrial, eccentric and progressive, Ca...

Part of Richard Heeps 'Dream in Colour' Series, this cool Palm Springs interiors picture combines gorgeous colours and dreamy nostalgic vintage mid-century style. This artwork is a...

A playful and spirited metal wall hanging by legendary folk artist Rev. Howard Finster (1916–2001), dated 1992 and numbered 25,000,998. This mixed-media piece features a cartoonish U...

Original sculpture. Acrylic, Spray paints, Enamel, Resin, Varnish Tadas Zaicikas work is fun and joyful, his use of acrylics, spray paints, markers, a...

The electro-love collection was inspired by the artist's time spent in South America and South Africa and seeing these supernatural creatures. Technique: Clay mold...

This painted polyester sculpture is signed by the artist ‘Niki’ on the base. It is also numbered from the edition of only seven on the base. There were three artist’s proofs aside fr...

My Doll Collection, by Lu Haskew Oil 10x20" image size Still Life Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price ...

Stay On Target! by BATIK Archival pigment pop art print of a Star Wars TIE fighter chasing actor Cary Grant from the infamous scene in Hitchcock’s N...

Stella Jae Cleopatra 2024 Oil on canvas Size: 31.49 x 23.62 x inches (80 x 60 cm) Signed by hand COA provided *This piece will ship unstreched and rolled. **Framing options are avai...

Paloma Castello's Tropicarios is an invitation to experience a space in which the fiction and her memories of the tropics blend together to create a personal approximation between ou...

Stella Jae Arcane Aura 2024 Oil on canvas Size: 23.62 x 31.49 inches (60 x 80 cm) Signed by hand COA provided Stella J Richey is an international visual artist and designer. Her wor...

The Key is a wooden scultpturerealized  Ferdinando Codognotto in 2023. Original wood sculpture realized in swiss pine expertly carved in the shape of a key. 10x28 cm.  Carved sign...

Original Painting, Oil on Board In 2013 the Horse Meat Scandal came to light. This scandal happened in parts of Europe in which foods advertised as containing beef and Pork were found to contain undeclared or improperly declared horse meat. Xue Wang...

Stella Jae La Reine 2024 Oil on Canvas Size: 31.49 x 15.35 inches (80 x 39 cm) Signed by hand COA provided Stella J Richey is an international visual artist and designer.Her works i...

"Cher Ernoe" Acrylic and Marker on Canvas Year: 2024 Size: 15.74 x 15.74 x 0.78 inches Signed and titled by hang COA provided *On Stretcher Frame Ready to hang The Rubik's Cube is ...

Luis Miguel Valdes (Cuba, 1949) 'Encuentros 1', 1996 aquatint on paper 19.7 x 25.6 in. (50 x 65 cm.) ID: 1D199604 Hand-signed by author ______________________________________________...

Artist: Heru Priyono Title: Hello World Size: 23-3/4 x 19-3/4 inches (66 x 50 cm) Medium: Acrylic on Canvas Edition: Original Year: 2019 Notes: Sig...

Artist: Gudmundur Erro, Icelandic (1932 - ) Title: Elvis Year: 2005 Medium: Lithograph, signed and numbered in pencil Edition: 180 Image Size: 17.25 x 24 inches Size: 23 x 31.5 in. (...

In SHE TELLS ALL, Kaur engages questions of identity performance by exploring an ever-present and wildly diverse American identity: the modern American witch. Witches are contemporar...

This is a one of a kind original oil and acrylic portrait of Al Capone by Southern California artist, Gina Palmerin. Its dimensions are 60x60. It is unframed...

A forlorn teddy bear sits stranded in a desolate landscape, perhaps a metaphor for the plight of innocents around the world. Once again, the scene is encased in a trompe-l’œil gilded...

Concrete Sculptural Planter inspired by En Iwamura Vessels 8 inch Tall / Hand casted and pigmented. 1 of 1 (Last picture is not actual vessel, it is a different variant but is pict...

"Kissing Eden" Nude Figurative Photography 30" x 24" in Ed. 1/7 by Aaron Mcpolin Medium: Archival Giclee Print Signed and numbered by the artist. Comes with COA issued by the artist...

Pair of Chinese cloisonné or enamel on copper cats in a familiar stalking pose decorated with symbolic biomorphic designs over an alluring blue background.

Doll No. 3 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 40 x 26, Late 20th Century Colors: Black, Blue, White,...

Doll No. 1 (Edition 1/25) "Pierre", Lucille Khornak, Color Photograph on Board with Acrylic Finish, 40 x 26, Late 20th Century Colors: ...

Doll No. 7 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 26 x 40, Late 20th Century Colors: Black, Blue, White,...

KAWS Clean Slate (Black), new & unopened in its original packaging. A well-received work and variation of KAWS' large scale Clean Slate sculpture - a key highlight of KAWS’ major mu...

An original hand built porcelain and paper sculpture by contemporary conceptual American artist Bethany Krull.

Artist: KAWS, Title: Time Off (Pink) Series: Toys Date: 2023 Medium: Sculpture Unframed Dimensions: 7" x 11" x 6" Signature: Stamped Edition: Open Edition KAWS (American, b...

Ardor is a brand born from the vision of artist Raffaele, inspired by "Angelo-Raffaele's Desire to Return" and dedicated to his son. Originally from Naples, Raffaele moved to Miami a...

This is a one of a kind original oil on panel portrait of Madonna by Southern California artist, Gina Palmerin. Its dimensions are 24x24. It is unframed. A certificate of authenticit...

Fine art pigment print 40cm x 50cm Limited Edition of 100 Signed and embossed by the artist

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...