Joyce Wieland Art

Artist: Christo, Title: Running Fences yellow Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25.25" x 39.5" Signature: Signed Edition: 1000

Joseph Beuys Stripes from the House of the Shaman (Hand Signed), 1980 Silkscreen exhibition poster with offset lettering on wove paper; hand signed by Joseph Beuys Boldly signed on t...

Ricard Opisso - Bar - Colored pencils Measurements drawing 11x13cm. Frame measures 35x37 cm. Son of Alfredo Opisso y Viñas, journalist, historian and critic, and of Antonia Sala y Gil, his sister Regina Opisso, was also a writer. He comes from an enlightened family full of artists. His paternal grandfather was Josep Opisso y Roig, journalist and director of the Diari de Tarragona, father of the also writers Antonia Opisso y Viña and Antoni Opisso y Viña. His maternal great-grandfather was the painter Pere Pau Montaña, his maternal grandfather the fabulist Felipe Jacinto Sala and his maternal uncle, the painter Emilio Sala y Francés. His nephew was Arturo Llorens y Opisso, a writer better known under his pseudonym Arturo Llopis. Although he was born in Tarragona, his family moved to Barcelona when Opisso was only two years old. In modernist Barcelona at the end of the 19th century, Opisso worked as an assistant to Antonio Gaudí in the works of the Sagrada Familia in Barcelona since 1892. He was linked to the group Els Quatre Gats, along with Ramón Casas, Manuel Hugué, Isidre Nonell...

Ed Ruscha (American, b.1937) Some Los Angeles Apartments, 1965/1970 Medium: Artist’s book (black offset printing on 100 lb. white Vicksburg Vellum text paper) Dimensions: 17.8 x 14 x...

Christo (American-Bulgarian, b. 1935) Lower Manhattan Packed Buildings (2 Broadway and 20 Exchange Place, from Monuments), 1968 Medium: Offset and screen print on Bristol board Dimen...

A composition resembling a collage, created by American Pop Artist Robert Rauschenberg. Multiple images of noteworthy American figures, such as the Kennedy family, are overlaid above...

Artist: after Robert Rauschenberg Title: Art Institue of Chicago Year: 1977 Medium: Offset Lithograph Poster Paper Size: 44 x 28 inches Frame Size: 54 x 37.5 inches

Robert Smithson Movie Treatment for Spiral Jetty, Dwan Gallery Poster, 1970 Offset lithograph poster 38 × 22 inches Unframed Rare, historic poster feature...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed). John Koch was an American painter and teacher, and an impo...

From his show Hashish at Michael Steinberg Gallery (bearing their label verso) Reviewed by Roberta Smith in the New York Times. Abstract Expressionism meets graffiti photography. Cy Twombly in cyberspace. Existential physics. The trajectories of car bombs. These phrases came to mind at the show of Dennis Balk's new work, made during the last three years while he lived in Bahrain and traveled primarily in the Middle East. The show is dominated by black-on-white gestural drawings on canvas from Mr. Balk's Faith Thumbnail series. Full of graphic and even painterly nuance, they turn out to have been made completely on the computer. In a smaller room, the Exhausted and Ideographic series features gaudy, vertiginous digital mixes of colorful photographs. Originally a performance artist, he became known in the art world in the early 1990s for improvisational diagrams that brought different historical narratives into collision. One work in his solo debut at American Fine Arts in SoHo in 1992 charted the lives of Ho Chi Minh and Abraham Lincoln -- both fathers of their countries in different ways -- across white paper napkins. His 2003 exhibition at that gallery was titled ''Particles + Waves With Plausibility,'' as is a recent book of his work. Dennis Balk is an educator, visual artist, writer, media designer and playwright based primarily in New York. Balk has an MFA Degree from California Institute of the Arts. Throughout the 90s and 00s he was an Art Director and media designer for television, outdoor, print and emerging tech and social/ media at; Arnell/ Bickford Associates, Frankfurt Gipps Balkind, Foote Cone & Belding and McCann Erickson, New York. At Amster Yard, the conceptual agency within McCann Worldwide, Balk was involved in concepting high-profile campaigns that ran both domestically and internationally. As an interactive and exhibition designer, Balk has designed significant exhibition work for; Princeton University (The Firestone Library), The National Building Museum (Washington DC), The Jewish Museum (New York) and The United States Holocaust Memorial Museum (Washington DC) in conjunction with the offices of James Ingo Freed. Balk has taught and lectured at a variety of Universities, most recently; UCLA in the Department of New Genres, the Università IUAV di Venezia, Yale University, Otis College of Art and Design- Public Practice MFA and as Coordinator of the Department of Fine Arts/ Computer Graphics at the New York Institute of Technology, Bahrain Campus. Since the late 80s his art work has addressed, in multiple formats (including several productions of his plays), the conditions of narrative and the narrative aspects of historicizing the present. His work has been exhibited internationally and reviewed extensively including; Artforum, Filosofia e Questioni Pubbliche, Bookforum, Art in America, Paper Magazine and The New York Times. While in New York, his primary gallery representation was with the seminal gallery, American Fine Arts. In February 2009, INOVA at the University of Wisconsin-Milwaukee presented the early work survey titled, “Dennis Balk - Early Work 1890-2090”. His recent publications include; “Dennis Balk/1890-2090” (2010-channel 171), “Dennis Balk The Arabian Gulf” (2010-channel 171), “ash” (2009-channel 171), “Colin de Land, American Fine Arts” (2008-powerhouse books), and “particles + waves with plausibility” (2006-powerhouse books). SELECTED BIBLIOGRAPHY 2011 Jack Bankowsky, Rosetta Brooks, Ingrid Schaffner, Nicholas Frank, Christina Valentine, Dennis Balk, Jennifer Bolande...

Superb original drawing in coloured conté pencils, heightened with white on oatmeal coloured vergé paper by Claudio Bravo. The work was created during the artist's Moroccan period, a...