DABSMYLA Art
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Artist: DABSMYLA
DabsMyla Pop Art
By DABSMYLA
Located in San Francisco, CA
DabsMyla is the fabulous artistic duo of husband Dabs and his wife Myla. This incredibly talented pair is known for their pop art graffiti style paintings. They were originally from ...
Category
21st Century and Contemporary Pop Art DABSMYLA Art
Materials
Acrylic
$7,800
Good/Great Morning 4
By DABSMYLA
Located in Boston, MA
Artist: DABS MYLA ,
Title: Good/Great Morning 4
Date: 2020
Medium: Lithograph
Unframed Dimensions: 39.5" x 27.5"
Framed Dimensions: 45.25" x 33.5"
Sig...
Category
2010s Contemporary DABSMYLA Art
Materials
Lithograph
$2,320 Sale Price
20% Off
Good/Great Morning 2
By DABSMYLA
Located in Boston, MA
Artist: DABS MYLA ,
Title: Good/Great Morning 2
Date: 2020
Medium: Lithograph
Unframed Dimensions: 39.5" x 27.5"
Framed Dimensions: 45.25" x 33.5"
Sig...
Category
2010s Contemporary DABSMYLA Art
Materials
Lithograph
$2,320 Sale Price
20% Off
Good/Great Morning 3
By DABSMYLA
Located in Boston, MA
Artist: DABS MYLA ,
Title: Good/Great Morning 3
Date: 2020
Medium: Lithograph
Unframed Dimensions: 39.5" x 27.5"
Framed Dimensions: 45.25" x 33.5"
Sig...
Category
2010s Contemporary DABSMYLA Art
Materials
Lithograph
$2,320 Sale Price
20% Off
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Rodeo Queen by Luis Jimenez
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Rodeo Queen, 1981
Edition 36/50
Signed lower left, Inscribed: for the "Rose" 82.
Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store".
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Luis Alfonso Jimenez
Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico.
Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history.
Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career.
Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City.
In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs.
Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes.
Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works
Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons.
Exhibitions:
In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton.
The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969).
The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973).
Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977),
Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982).
Committed to Print (Museum of Modern Art, New York, 1989)
Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX.
Laguna Gloria Art Museum, Austin, 1990.
The Whitney Biennial (Whitney Museum of American Art, New York, 1991)
Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95).
47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995).
Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000).
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Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico.
Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States.
His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history.
Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimnez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career.
Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autnoma de Mexico in Mexico City.
In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs.
Drawing on his early experiences, Jimnez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes.
Inspired by authors who write in an autobiographical style, Jimnez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works
Many of Jimnezs works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimnez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons.
Exhibitions:
In addition to his personal work, Jimnez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton.
The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969).
The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973).
Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977),
Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982).
Committed to Print (Museum of Modern Art, New York, 1989)
Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX.
Laguna Gloria Art Museum, Austin, 1990.
The Whitney Biennial (Whitney Museum of American Art, New York, 1991)
Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95).
47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995).
Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000).
Jiménez
Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including:
• Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg
Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists.
• The Fine Art Estate of Lon Megargee
• Vintage rodeo...
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Previously Available Items
Good/Great Morning 2
By DABSMYLA
Located in Boston, MA
Artist: DABS MYLA ,
Title: Good/Great Morning 2
Date: 2020
Medium: Lithograph
Unframed Dimensions: 39.5" x 27.5"
Framed Dimensions: 45.25" x 33.5"
Sig...
Category
2010s Contemporary DABSMYLA Art
Materials
Lithograph
Good/Great Morning 1
By DABSMYLA
Located in Boston, MA
Artist: DABS MYLA ,
Title: Good/Great Morning 1
Date: 2020
Medium: Lithograph
Unframed Dimensions: 39.5" x 27.5"
Framed Dimensions: 45.25" x 33.5"
Sig...
Category
2010s Contemporary DABSMYLA Art
Materials
Lithograph
Montana Spray Can 2
By DABSMYLA
Located in Dallas, TX
Introducing the Dabs Myla Special Edition Spray Paint Can by Montana Colors. In celebration of Beyond the Streets, Dabs Myla has collaborated with MTN to b...
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Wood, Spray Paint
Soft Thing
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Located in Dallas, TX
Edition of 150
Deckle Edge
20" x 20" Coventry Rag 290 gsm
8 Color print
Signed by the artists
Numbered & Embossed
"Soft Thing watches over you, absorbing all negative energy, f...
Category
21st Century and Contemporary Contemporary DABSMYLA Art
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Rag Paper, Screen
True Spirit
By DABSMYLA
Located in Dallas, TX
Everyone's psyche and spirit is attached to True Spirit. It is extremely shy and rarely connects with us. Its goal to change your perspective and move you to think outside the box, t...
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21st Century and Contemporary Contemporary DABSMYLA Art
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Rag Paper, Screen
Between Dreams
By DABSMYLA
Located in Dallas, TX
18x24 inches, 9 color hand pulled screen print, Deckle edge, Coventry Rag 290 gsm, Signed, embossed & numbered, Edition of 150
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