Gerald Laing Art

A super fun limited edition serigraph entitled "Gallery in the Courtyard - Los Angeles, CA" by Patrick Nagel, circa 1980s. This stylish piece is in the original silver metal frame measures 24" x 34.5. The print is signed in the plate by Nagel. #2540 Patrick Nagel was an American artist who did work for Playboy magazine throughout the 1980s. He created popular illustrations on board, paper and canvas, most of which emphasize the female form in a distinctive style descended from Art Deco. He is best known for his illustrations for Playboy magazine and the pop group Duran Duran...

Jill Freedman Kissing FDNY 1976, black & white photo on Kodak Endura, Signed. Image also known as ‘Brotherly Love.” This is a black and white photogr...

CHROMA — SNOOPY Figure (Huichol Technique) A sculptural reinterpretation of an iconic cultural figure through the CHROMA language—where contemporary form meets traditional Huichol b...

Artist: Roy Lichtenstein Title: Pistol (from Banner, Multiples Calendar) Medium: Screenprint in colors Date: 1969 Edition: Unnumbered Frame Size: 19 1/4" x 19 3/8" Sheet Size: 15 3/...

Chroma aka Rick Wolfryd Spaceman Can VII Light Sculpture, Pop Art, 2026, Huichol LIGHT UP YOUR LIFE ! ! ! Kinetic Light Scultpture . . . This SPACEMAN CAN SCULPTURE is uniqu...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

CHROMA — SNOOPY Figure (Huichol Technique) STARRY EYED . . . BEST OF CHROMA! A sculptural reinterpretation of an iconic cultural figure through the CHROMA language—where contemporar...

CHROMA — SNOOPY Figure (Huichol Technique) A sculptural reinterpretation of an iconic cultural figure through the CHROMA language—where contemporary form meets traditional Huichol b...

THANOS . . . best of CHROMA! POP ART, SCULPTURE, HUICHOL ART . . . COMMISSIONS AVAILABLE!! Huichol Beaded Mixed Media Sculpture Power is often portrayed as domination. Thanos asks ...

A whimsical yet very strong piece depicting the Weim character from Gillie and Marc's iconic figures of the Dog/Bunny Human Hybrid, which has picked up much esteem across the globe. ...

Color screenprint, color pencil on heavy white wove paper, 1971. 840x595 mm; 33 1/4×23 1/2 inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Publishe...

A whimsical yet very strong piece depicting the Dog Man from Gillie and Marc's iconic figures of the Dog/Bunny Human Hybrid, which has picked up much esteem across the globe. Here we...