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Exhibits
  • Peter Max Blushing Beauty

    Peter Max is a bona fide Pop Art sensation. Gaining recognition in the 1960s, Max’s psychedelic art —characterized by dark line work, cosmic innuendos, and intense bursts of colors— made its mark on a generation of young Americans swept up in the counterculture. While other protagonists of the movement, like Andy Warhol and Roy Lichtenstein, used their art as a commentary on commercialism, Mr. Max’s happy palette defined it.

    The visual character of the late 60s and 70s might not have taken shape without Max. No artist is more synonymous with the spirit of the Swinging Sixties—or, in Max’s world, the “Cosmic Sixties.” His art instantly recognizable, and it is also among the most commercially successful in the world—ever. Without his influence, there wouldn’t be Lisa Frank school supplies or innumerable cartoons, including Schoolhouse Rock or even Yellow Submarine

     

    Peter Max was also a precursor to Simulationism, the artistic movement created around the relationship between man and object, often associated with Jeff Koons and Takashi Murakami.  That said, Peter Max has never been concerned about where exactly he fits into art history. “I’m just wowed by the universe. I'm just glad to do something I love to do. I love color, I love painting, I love shapes, I love composition, I love the people around me. I'm adoring it all. My legacy is in the hands of other people,” he said.

    Blushing Beauty (2010) by Peter Max is an original acrylic on canvas. Painting on Canvas is a one of a kind edition and is hand signed in acrylic. For more information about Peter Max, or if you would like to purchase Blushing Beauty, please contact the gallery. Call for value.

    • Banksy Soup Can (Sage Green/Lime/Cherry)

      On March 13th, 2005, a bearded man in a raincoat and hat made his way through New York's best-known galleries. In each gallery, unseen by staff or security guards, he secretively hung a piece of his own work next to the old masters and big names of contemporary art.

      The man was famous British graffiti artist  Banksy, known for his love of pranks. In the Museum of Modern Art, Banksy left a painting of a can of cream-of-tomato soup in an elevator. The Soup Can print was not discovered until March 17th, four whole days later. 

      Banksy said he had entered all of the museums during normal visitors' hours. When asked how he was able to hang his works without being noticed by museum guards or security cameras, Banksy responded rather opaquely. "You just have to glue on a fake beard and move with the times," he said.

      Banksy’s Soup Can (Sage Green/Lime/Cherry) depicts a single can of cream of tomato soup from the British company Tesco. This image is a play on Andy Warhol's famous Campbell’s Soup Can. In contrast to Andy Warhol’s ambiguous and affirmative attitude towards consumer society, Banksy’s print is a clear critique of the British corporate retailer Tesco. Rather than highlight the various flavors of Campbell's soup like Andy Warhol, Soup Can repeats the title “Tomato Soup” in a deadpan aesthetic to cast a critical glance at capitalist society.

      Soup Can (Sage Green/Lime/Cherry) by Banksy is an original screenprint on wove paper created in 2005. This screenprint is an edition of 3/10. Soup Can is signed in pencil. For more information about Banksy or Soup Can (Sage Green/Lime/Cherry), please contact the gallery. SOLD.

      • Robert Longo Cindy

        In Robert Longo’s Men in the Cities series, the artist depicts life-sized renderings of strangely contorted bodies—including that of his friend and fellow artist Cindy Sherman.

        "Robert shot us in free fall, looking like we were dead,” Sherman recalled in 2009. "A feeling of force and energy emanates from these images. Now I see their choreographic aspect. I see youthful optimism. Creating these poses became a sort of dance, and I think that’s why I remember having such a good time.”

        Robert Longo and Cindy Sherman were both leading figures in the “Pictures Generation,” of artists. Their art was connected by an interest in examining power and identity in a media-saturated, politically uncertain age.

        “My generation was a real rowdy generation. We were really eager to replace the people before us. When Cindy [Sherman] and I moved to New York, it was, like, 1977. We broke up around 1980, but we still stayed close. We had these big parties at my loft after openings. They were filled with lots of rock ‘n’ roll people and lots of artists. I remember being at one end of the loft and somebody came running from the other side saying, “ Andy Warhol is at the party!” I remember my immediate reaction was, “He wasn’t invited!” [laughs] Thinking about it now, I’m like, “Whoa, where was my brain at that time?” Robert Longo recalled. "But that’s how aggressive we were with the idea of trying to replace the people in front of us, for sure.” 

        Cindy (2002) from the Men in the Cities portfolio is an original lithograph in black and grey on BFK Rives paper. Cindy by Robert Longo is hand signed and numbered on the lower right and is an edition of 31 and 120. For more information about Robert Longo or Cindy please contact the gallery. SOLD.

        • Henri Matisse Pasiphae

          In 1940, French playwright Henri de Montherlant sat for a portrait for  Henri Matisse; it was during these sittings that the author and artist decided on a collaboration. Henri Matisse admired de Montherlant’s dramatic retelling of the Pasiphae myth. In Greek mythology, Pasiphae was the cursed wife of King Minos and the mother of the Minotaur, the half-bull, half-human creature. 

          After the First World War the Minotaur became a potent symbol for many artists in France. Its half-human status was thought to represent the dividedness of the self, and the fact that it was hidden away in the depths of the earth represented the monstrosity at the heart of all great civilizations. For the Surrealists, the creature represented sexual desire, taboo, lust and decadence. Pablo Picasso made hundreds of pictures of the Minotaur’s debauchery.

          However, Henri Matisse’s linocuts reflect not on the monstrous tragedy of the tale, but on the enduring themes of passion, love and beauty. Henri Matisse was exploring the Minotaur during the Second World War when he was 70, sick, helpless, and fearful for his family and friends. To cope with this anxiety, Henri Matisse focused on his work and the young models who posed for him. “That’s what keeps me there, surrounded by my fruit and flowers which I get to grips with little by little, almost without noticing . . . and then I wait for the thunderbolt [of love at first sight] that is bound to follow.” 

          Henri Matisse himself knew perfectly well that the erotic charge in his work came from a passionate desire that overrode straightforward lust. It was painting itself that seduced him over and over again. 

          Pasiphae, Plate 30 (1981) is an original linocut on Rives and is the edition XV/XXV. The Pasiphae portfolio is referenced in Duthuit 38. Please contact the gallery for more information about Pasiphae, or about Henri Matisse. $1,895 framed

          • Alexander Calder La Memoire Elementaire

            “Memories of childhood were the dreams that stayed with you after you woke.” ― Julian Barnes

             

            The Portfolio La Memoire Elémentaire (The Elementary Memory) by Alexander Calder is a whimsical exploration of the mind. The original lithograph  Untitled, La Memoire Elémentaire conjures the images of a dreamscape and speaks to the ephemeral nature of memories. Although this original print is still, unlike Alexander Calder’s mobiles, the shapes feel as if they are going to continue to rise, floating right off the paper. 

            “Don't you wish you could take a single childhood memory and blow it up into a bubble and live inside it forever?” ― Sarah Addison Allen, Lost Lake

            Alexander Calder’s gravity as an artist cannot be separated from his insistence that ephemeral pleasure is a sufficient goal for both good art and a good life. Calder took everything seriously except seriousness. In historical photographs, Calder often seems to be amusing himself in his workshop. Calder’s instinctual experimentation resulted in an extended legacy, now loudly resounding in contemporary art of the twenty-first century.

            “Candy is childhood, the best and bright moments you wish could have lasted forever.” ― Dylan Lauren

            Untitled from the portfolio La Memoire Elémentaire by Alexander Calder is an original lithograph in colors on Japon nacre. Untitled, La Memoire Elémentaire is edition XIX/L, from an edition of 50, and is hand signed and numbered in pencil. For more information about Alexander Calder, or if you would like to purchase Untitled, La Memoire Elémentaire, please contact the gallery. SOLD.