Aki Kuroda Art

This geometric, minimalist print glows in rainbow shades. Vibrant raspberry pink, magenta, yellow, lime green, and sky-blue lines take on the organic quality of handmade paper, resul...

A rare and sought after Japanese B2 poster for The Beatles' first full-length feature film 'A Hard Day's Night,' which followed the fab four over an anarchic 36 hours in London at th...

Issued for the first Japanese release of the film in 1969, this fantastically bizarre Japanese B2 poster offers some of the best artwork created to promote the Beatles' 1968 hit psyc...

Released in 1995, Mathieu Kassovitz's classic "La Haine", or "Hate" stars Vincent Cassel, Hubert Kounde and Said Taghmaoui as Vinz, Hubert and Said as three friends in a Paris suburb...

Boris Bucan was an internationally renowned graphic designer from Croatia. His graphic work has been widely exhibited all over the world. This is an original vintage poster which is...

Steven Spielberg's timeless tear jerking tale of a young boy's friendship with a stranded extraterrestrial was both widely critically acclaimed and enormously commercially successful...

"The Old Jack Old Rum Rhumprat estilo Jamaica", Bonaparte, Reclamos Vilaró, Barcelona Original Rum advertising poster, Spain, 1920s Rhumprat- The Old J...

An action-packed Japanese B2 poster for the 1969 British crime caper "The Italian Job," starring Michael Caine as cockney criminal Charlie Croker, fresh out of prison and planning a heist in Italy. Consistently voted one of the greatest ever British movies, the quintessential sixties film has become a cult favourite and a Classic of the heist genre, while Caine's famous one-liner "You're only supposed to blow the bloody doors off!" has taken on a life of its own. Despite receiving a Golden Globe nomination for Best English-Language Foreign Film, "The Italian Job" was not a success in America at the time of its release. Caine blamed its failure on a misleading marketing Campaign, explaining to Empire magazine that the US poster "was a naked woman and me. And I said, 'This is for kids. There aren't any naked women in it! We're going to get a load of old guys coming in to see naked women and they're going to be pissed off, and mums aren't going to bring their children.' They said, 'We're not going to change the poster,' so I got on a plane and came home." While utilizing the same elements as the US poster in a more diminutive form, this superb Japanese poster places its focus on the real stars of the movie - the red, white and blue mini coopers...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein...

Printed in stunning stone lithography, this incredibly rare Australian three-sheet poster advertised The Beatles' first full-length feature film 'A Hard Day's Night,' which followed ...

During the beginning of the 1980’s, Warhol began accepting commissions from a range of manufacturers and businesses; this screen print was an experimental design for French mineral w...

Original Vintage Poster for Savignac Laden Automatique. An advertisement designed in 1966 by Raymond Savignac. Raymond Savignac was one of France's most iconic and influential poste...