Dagmar Mezricky Nude Prints

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

"Two Reclining Nudes" is an exceptional Lithograph of Pearlstein's Realistic style. The nudes are posed reclining, neither engaged with either each other or the viewer, and give the atmosphere of being in a dream state. It is an intimate scene without intimacy. Their full-figured bodies exude power and strength which is reinforced by not fitting within the frame. This Lithograph is #42 of an edition of 100 with one blind stamp, and signed by the artist all located in the upper left corner. Philip Pearlstein is an American painter born in Pittsburgh, PA, and best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. In 1941, his junior year in high school, he received his first recognition when awarded first and third prizes in Scholastic Magazine’s 14th National High School Art Exhibition. Upon graduation from high school in 1942, he enrolled in the Carnegie Institute of Technology but the draft limited his attendance to one year. After discharge from the army in 1946, he returned to Carnegie Tech where he received his BFA in 1949. Upon graduation, he moved to New York City where he pursued work in graphic design and received a Master’s degree in art history from New York University in 1955. Pearlstein worked as a graphic designer for Life Magazine before becoming an instructor at the Pratt Institute, and then a professor at Brooklyn College; he has also served as a visiting artist at several prestigious institutions throughout the country. His work has been exhibited in several solo exhibitions throughout the United States with paintings in the collections of over 70 public art museums. Pearlstein served as a President of the American Academy of Arts and Letters from 2003-2006 and currently lives and works in New York. “It is what is painted between the outlines that makes the difference between merely competent painting and really meaningful art.” —Philip Pearlstein In spring of 1946 he becomes assistant to Robert Lepper, head of the Design Program at Carnegie Institute of Technology, at the firm of Altenhof and Bown, Architects, and designs catalogs for building products through 1949. Meanwhile he enrolled at Carnegie Institute of Technology and studied with Robert Lepper, Balcomb Green, and Samuel Rosenberg. Meets Dorothy Cantor, George Klauber, and Andy Warhol (Warhola), fellow students at Carnegie Institute of Technology. Serves as art editor of the Carnegie Technical, the student publication of the Engineering School, through 1949 when he received his BFA and moved to New York to live with Andy Warhol. A few months later he worked with graphic designer Ladislav Sutnar in design and production of catalogs of plumbing fixtures and ventilators for the next eight years. He graduated from the Institute of Fine Arts, New York University where he studied with Karl Lehmann, Craig Smith and Jose Lopez-Rey. In 1954 Clement Greenberg selectd Pearlstein to be in “Emerging Talent” show at Kootz Gallery, New York. Torso is shown. Show includes Herman Cherry, Paul Freeley, Paul Georges, Cornelia Langer, Saul Leiter, Morris Louis, Anthony Louvis, Sue Mitchell, Kenneth Noland, and Theophil Groell. He received his M.A. in Art History from Institute of Fine Arts, New York University. His thesis on Francis Picabia with Jose Lopez-Rey and H.W. Janson as advisors. In September of 1958 he received a Fulbright Grant for Painting in Italy and traveled to Rome, Florence, Venice, Amalfi Coast and Sicily. Back in New York his drawing group includes at various times during the following thirteen years: Ann Arnold, Rudolph Burkhardt, Charles Cajori, Gretna Campbell, Lois Dodd, Louis Finkelstein, Joe Fiore, Sideo and Nora Fromboluti, Mary Frank, Stephen Greene, Theophil Groell (Repke), Philip Guston, Yvonne Jacquette, Diana Kurtz, Alex Katz, Gabriel Laberman, Mercedes Matter, George McNeil, Sidney Tillim, Jack Tworkov and William White. Meets initially in Mercedes Matter’s studio. Continues to meet with group at various locations, including his own studio through 1972. In 1969 and 1971 he received the John Simon Guggenheim Memorial Foundation grant. In 1982 he served as the Artist in Residence at the American Academy of Art, Rome. In addition to other numerous awards and honors he received an Honorary Doctorate Degree from the Center for Creative Studies and the College of Art & Design, Detroit, Michigan in 2000. Other known CCS faculty and graduates are Susan Aaron-Taylor, Richard Jerzy, Harry Bertoia, Doug Chaing, Stephen Dinehart, Tyree Guyton, Renee Radell, Herb Babcock, Jerome Ferretti...

TWO GIRLS DANCING Year: 2011 Medium: 2-color lithograph Size: 27 x 30 inches (69 x 76 cm) Edition: 100 Price: $1,900 Born in New York City in 1948, Eric Fischl grew up in the suburbs of Long Island , his parents having moved there shortly before his second year.”Safer place to raise a family”, they used to say. Against a backdrop of alcoholism and a country club culture obsessed with image over content, Fischl became focused on the rift between what was experienced and what could not be said. Until the late 70’s, suburbia was not considered a legitimate genre for art. With his first New York show at the Edward Thorp Gallery, epithets like “psycho-sexual suburban dramas” became velcroed to his disturbing images of dyfunctional family life. Fischl began his art education in Phoenix, Arizona where his parents had moved in 1967. First at Phoenix Junior College, then a year at Arizona State University, and finally getting his BFA in 1972 at the recently opened California Institute of the Arts in Valencia, California. After graduation he moved to Chicago where he worked as a guard at the Museum of Contemporary Art. It was in Chicago that Fischl was exposed to the non-mainstream art of the Hairy Who. “The underbelly, carnie world of Ed Paschke and the hilarious sexual vulgarity of Jim Nutt...

Male nude lithograph by Trevor Southey. Charcoal gray. There was also an edition done in terra cotta. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His African...

Cindy Sherman Limited Edition Offset Lithograph on 200g Profisilk paper 33 × 23 1/4 inches Edition of 200 Limited Edition Offset Lithograph on 200g Profisilk paper Hand signed in re...

Yayoi Kusama Driving Image Show: An impossibly rare 1960s Kusama exhibition poster/brochure, published on the occasion of: Yayoi Kusama at Galleria del Naviglio Milan: Jan. 26-Feb. ...

Nudes in Space John Hardy, American (1923–2014) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 275 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Passages I John Hardy, American (1923–2014) Date: 1981 Lithograph, signed and numbered in pencil Edition of 275 Image Size: 28 x 20 inches Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

R. C. Gorman is better known for his images of colorful and elegant Navajo figures. This pair of prints, however, offers a view into his personal life. The pair of nude figures in th...

Marina Abramović The Cleaner, 2017 Offset Lithograph poster from this European exhibition 39 2/5 × 27 3/5 inches Unframed and unsigned About The Cleaner project - courtesy of the Louisiana Museum Marina Abramović has inscribed herself in the history of art as one of the pioneers of body and performance art, and since the 1970s – with her own body and energy as her primary material – she has developed one of contemporary art’s most radical and uncompromising practices. Abramović is best known for physically and mentally demanding performance works that are often transgressive and revolve around the body, gender, energy, time, pain, presence, and identity. Her performances range from powerful, violent, and risky actions to quieter exchanges of energy and meetings with the audience. And especially in recent years, we the audience have increasingly become key players in her works. The exhibition at Louisiana comprised more than 100 works and spans more than five decades – from early concept sketches, paintings and sound works to presentations of the artist’s performances – including her collaboration with former partner Ulay. Reperformances of an early work formed part of the exhibition as well. Marina Abramović – The Cleaner was developed in dialogue with the artist and organized by Moderna Museet, Stockholm, in collaboration with Louisiana Museum of Modern Art, Henie Onstad Kunstsenter and Bundeskunsthalle, Bonn. The performance part...

Anna Weyant, The Guitar Man, 2023 Offset lithograph on wove paper Hand-signed in black marker pen 81 x 61 cm (31.89 x 24 in) This poster featuring The Return of The Girls Next D...

Signed and dated in pencil lower right From: New Jersey Volunteers for McCarthy Portfolio (14 lithographs by various artists) Signed in pencil lower right and dated ‘68 Printed by Pearl Seligman on Rives Heavyweight paper Edition 250 Features a broadside of Lowell's poem "Fall 1961," and 14 lithographs Signed in pencil by the following artists: Richard Anuskiewicz, Carmen Cicero, Leo Dee, Joseph Demarais...