Howard Kanovitz Figurative Prints

Howard Kanovitz Looking at Me (Signed twice with heart drawing and inscription), 1981 Colour Lambda print on vellum Pencil signed and annotated Artist Proof (AP) by artist on the fro...

Howard Kanovitz The Ground Above Us, 1980 Color lithograph on wove paper with deckled edges by renowned photo realist pioneer Signed and numbered from the limited edition of 175 in ...

Howard Kanovitz American, 1929–2009 1980 Visible Difference Lithograph Paper Size 33 × 24 in (82.6 × 61 cm) Marked pp Printers Proof Howard Kanovitz was a pioneering painter in the...

Howard Kanovitz American, 1929–2009 1980 The Ground Above Us Lithograph Paper Size 33 × 24 in (82.6 × 61 cm) Marked pp Printers Proof Howard Kanovitz was a pioneering painter in the...

Howard Kanovitz American, 1929–2009 1980 East End Trilogy Lithograph Paper Size 32½ × 24 in (82.6 × 61 cm) Marked pp Printers Proof Howard Kanovitz was a pioneering painter in the P...

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...

This richly-hued screenprint depicts the ripped-open box packaging for Andre Champagne Cellars. On the side of the box is printed "Cold Duck," referri...

Howard Kanovitz Paris Review, 1968 Lithograph on wove paper 33 × 26 inches Pencil signed and numbered 9/200 Published by The Paris Review, New Y...

A surreal juxtaposition of geometric forms and uncannily realistic pedestrians forms the composition of this moody screen print. Framed by a flat of charcoal grey, a man in shadow i...