Compassion Chris Levine

Chris Levine was born in Ontario in 1960. He lives and works in Northamptonshire and is a light artist who works across many mediums in pursuit of an expanded state of perception and awareness through image and form.

Levine’s work considers light not just as a core aspect of art, but of human experience more widely and a spiritual, meditative and philosophical edge permeates his prints, paintings, photography and other art. He is perhaps best known for producing what is already being described as one of the most iconic images of the twenty-first century, Lightness of Being.

With light and stillness at its core, the sensational portrait of Her Majesty Queen Elizabeth II presents an utterly fresh depiction of the most famous woman in the world. The National Portrait Gallery stated it was the most evocative image of a royal by any artist.

Levine’s practice is differentiated by cross-fertilization across many creative fields including music, performance, installation, fashion and design in a multitude of projects. His exhibition “Hyper Visual 1.2” completed a tour of 12 countries with the British Council. In 2012 his work The Queen: Art and Image got featured in a major exhibition at London’s National Portrait Gallery. He has had artwork in London’s Science Museum and has staged light performances and exhibitions internationally in spaces such as Radio City in New York commissioned by MoMA, the Eden Project, the Royal Opera House, MATE museum in Lima, London’s Fine Art Society and the headline installation at MOFO festival for Tasmania’s MONA museum.

Levine’s status as one of the world’s leading light artists has led to several high-profile cross-media collaborations with Massive Attack, Hussein Chalayan, Antony and the Johnsons, Kate Moss, Grace Jones and Jon Hopkins. He has also produced work for Chanel, BMW and Swarovski. Levine completed another historic portrait to commemorate the Dalai Lama’s 80th birthday to raise funds for the victims of Nepal’s earthquake.

Find authentic Chris Levine art on 1stDibs.

(Biography provided by Wychwood Art Gallery)

In 1967, artist Sol LeWitt wrote that in “Conceptual art the idea or concept is the most important aspect of the work.” He was giving a name to an art movement that had emerged in the 1960s in which artists were less focused on their medium being something traditionally “artistic” and instead engaged in using any object, movement, form, action or place to express an idea.

LeWitt’s work was featured alongside an assemblage of notes, drawings and outlines by other artists in “Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art,” a groundbreaking show at New York City’s School of Visual Arts curated by Mel Bochner, another leading exponent of Conceptualism. Building on radical 20th-century statements, like Fountain (1917) by French artist Marcel Duchamp, Conceptual artists around Europe and North and South America were not interested in the commercial art scene and rather directly challenged its systems and values.

Stretching into the 1970s, this movement has also been called Post-Object art and Dematerialized art. Conceptual art reflected a larger era of social and political upheaval. Pieces associated with the style range from Roelof Louw’s Soul City (Pyramid of Oranges) (1967) — a work of installation art that sees fresh oranges stacked into a pyramid from which visitors are allowed to take one orange away — to On Kawara’s “Today” series, which saw the Japanese artist carefully painting a date in white acrylic on canvases consisting of a single color from 1966 to his death in 2014. Artists such as Ed Ruscha, who created the Twentysix Gasoline Stations book — a collection of photos of gas stations that is widely said to be the first modern artists’ book — made photography a major platform for Conceptual art, as did Bruce Nauman, who burned one of Ruscha's books and then photographed it for his own.

Conceptual art’s legacy of questioning artistic authorship, ownership and how to work with complex ideas of space and time had a significant influence on the decades of culture that followed, and it continues to inform art today.

The collection of Conceptual photography, paintings and sculptures on 1stDibs includes artworks by John Baldessari, Jenny Holzer, Lawrence Weiner, Joseph Kosuth and others.

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.