Mario Russo Art

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek urns, and snakes, printed in black o...

Will Barnet (American, 1911-2012), "Celebration", Lithograph in Colors on Paper, 2005, titled lower left, numbered edition "54/75" to center, signed in pencil lower right, unframed. ...

Hand signed and numbered by the artist. Artwork is in excellent condition. Additional images are available upon request. Certificate of Authenticity is included. Edition of 175. All...

Original " LIDO REVUE BONJOUR LA NUIT CHAMPS ELYSEES BLUEBELLS GIRLS" vintage poster by the artist Rene Gruau. (Hello the Night). This poster features 30 Bluebell girls at the Lid...

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

BOPPING AT BIRDLAND(STOMP TIME) is a limited edition color lithograph printed using traditional hand lithography methods on archival Somerset printmaking paper, 100% acid free, in an edition size of 175 by the renowned African American artist Romare Bearden. A semi-abstract multicolor print in shades of red, yellow, blue, green, pink beige, white, gray and black - BOPPING AT BIRDLAND(STOMP TIME) is a lively jazz portrait...

PASSING CROWD(Hard Hat) is an original hand drawn lithograph by the NY figurative expressionist painter, Lester Johnson. Printed using hand lithography techniques on archival ARCHES ...

Color lithograph after the watercolor illustrations by Antoine de Saint-Exupéry from his beloved masterpiece "The Little Prince". This lithograph was printed and published in 2009 ...

This print depicts a baseball game mid-play. An umpire crouches with his hand up, and the batter stands poised. In the lower right, spectators peer onto ...

Dorain Gray with Rainbow Scarf Color lithograph, 1968 Signed in pencil lower center of sheet (see photo) Annotated by the artist: A/P for Artist's Proof (see photo) From: The Picture...

Collagraph layered with mulberry paper by Patricia A. Pearce (American, b. 1948). Numbered, dated, titled, and signed along the bottom edge ("AP 1980 Kimono 11 Patricia A Pearce...

SHIPPING FEES INCLUDE SHIPPING CHARGE, PACKAGING & **INSURANCE** 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 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...