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Coyote Sculpture by Markus Pierson, 1987
About the Item
Vibrant painted wood sculpture of a lounging coyote by artist Markus Pierson. Piece depicts a coyote in a striped suit laying on a teal settee with a beverage in one hand and a phone in the other,
Hand signed on the reverse and numbered 171 of 250.
- Creator:Markus Pierson (Artist)
- Dimensions:Height: 9 in (22.86 cm)Width: 19.25 in (48.9 cm)Depth: 12 in (30.48 cm)
- Style:Post-Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:1980-1989
- Date of Manufacture:1987
- Condition:Wear consistent with age and use. Chipped paint on some edges and some light cracking to paint finish on one side.
- Seller Location:Richmond, VA
- Reference Number:1stDibs: LU10168245238042
Markus Pierson
Markus Pierson was born in 1961 and grew up in the small farming town of Grand Ledge, Michigan, where his father owned a popular restaurant. A self-proclaimed “racer,” Markus was the youngest and most challenging of the four Pierson children. While he was a student, an encouraging art teacher opened the door to Markus’ talent and deeply moved him. However, the Grand Ledge art scene was somewhat lacking, leading Markus to take on a number of odd jobs before stumbling upon accounting as a means of making a living. After a near-fatal battle with Crohn’s disease in early 1985, he declared the accountant “dead” and in his place was a man pursuing his dream of becoming a successful artist. The Coyote series was born in June 1986, after Markus heard the Joni Mitchell song “Coyote.” He loved it, played it often, and memorized the lyrics. The song’s central theme, a guy named “Coyote,” is a reckless, free-spirited Casanova type of guy—Pierson aspired to be the carefree novelist described in those lyrics. Then he did something he’d never done before or since: Markus drew a song. For the next six months, Markus painted billboards by day for a living and drew his Coyotes by night. On the wall above his desk, he taped these words: “No one works as hard and as smart – and it comes to nothing.” Within a year, he was leaving Artexpo in New York with engagements from 110 art galleries looking to represent his work.
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