Tag Archives: fineart

WOW! – Work of the Week 7/13/15

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Damien Hirst, Methylamine-13c

Damien Hirst Methylamine-13c 2014

Damien Hirst Methylamine-13c 2014

Damien Hirst
Methylamine-13c
2014
Screenprint with glaze and diamond dust
33 1/16 x 27 in.
Edition of 100
This piece is signed and numbered in pencil on verso.

About This Work:

Hirst’s spot paintings and prints are amongst his most widely recognized works, with the ‘Pharmaceutical’ paintings first and most prolific of the 13 spots sub-series.

His work with spots, specifically when named after synthetic and natural compounds in drugs and pharmaceuticals, explores themes fundamental to the his work. Namely the complex relationships between nature and science, myth and reality, art and beauty, and life and death.

No one color spot is the same color as another. The colors he uses in conjunction with drug and pharmaceutical titles suggests they represent different emotions/states e.g. red means love, white means purity, black means death, blue means the blues, green means jealousy. Alluding to that fact, that all human emotions or sensations or natural science can be expressed, aesthetically, in the spots.

About Damien Hirst:

Damien Hirst has become one of the most prominent artists of his generation. Many of his works are widely recognized, from the shark suspended in formaldehyde, “The Physical Impossibility of Death in the Mind of Someone Living”, and his spot, spin and butterfly paintings, through to later works such as the diamond skull “For the Love of God”.

Throughout his work, Hirst investigates and challenges contemporary belief systems, and dissects the tensions and uncertainties at the heart of human experience.  Hirst takes a direct approach to ideas about existence, exploring the complex relationship between art, life, death and religion. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, reason and faith, love and hate.

By using the tools and iconography of science and religion, he blurs the lines between science, religion, and art, giving the viewer the horror of immortality and the brilliance of reality. 

Death is a central theme in Hirst’s art work.  He gives his audience an open mouth astonishment while challenging the viewer to confront the inevitability of existence. He became famous for a series of artworks in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The best known of these being The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot tiger shark immersed in formaldehyde in a vitrine. 

In September 2008, he took an unprecedented move for a living artist by selling a complete show, Beautiful Inside My Head Forever, at Sotheby’s by auction and by-passing his long-standing galleries.  The auction exceeded all predictions, raising $198 million, breaking the record for a one-artist auction.

Since 1987, over 80 solo shows of Damien Hirst exhibitions have taken place worldwide, and his work has been included in over 260 group shows.  His contributions to art over the last two and a half decades was recognized in 2012 with a major retrospective of his work at the Tate Modern.

WOW! – Work of the Week 6/29/15

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Robert Indiana, Zinnia, from Garden of Love

Robert Indiana Zinnia, from Garden of Love 1982

Robert Indiana Zinnia, from Garden of Love 1982

Robert Indiana
Zinnia, from Garden of Love
1982
Screenprint
26 5/8 x 26 5/8 in.
Edition of 100
This piece is signed, titled, dated and numbered in pencil.

About This Work:

Robert Indiana is most recognized for his very pop art LOVE works. 

Zinnia is one of 6 works from Robert Indiana’s Garden of Love portfolio. Each of the six works is inspired and named after a flower.

About Robert Indiana:

“There have been many American SIGN painters, but there never were any American sign PAINTERS.”   This sums up Robert Indiana’s position in the world of contemporary art. He has taken the everyday symbols of roadside America and made them into brilliantly colored geometric pop art. In his work he has been an ironic commentator on the American scene. Both his graphics and his paintings have made cultural statements on life and, during the rebellious 1960s, pointed political statements as well.

Born Robert Clark in New Castle, Indiana, in 1928, he adopted the name of his native state as a pseudonymous surname early in his career.

What Indiana calls “sculptural poems”,  his work often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HUG”, and “LOVE”.

Rather than using symbols from the mass media, Indiana makes images of words that focus on identity.  Using them in bold block letters in vivid colors, he has enticed his viewers to look at the commonplace from a new perspective.

Despite his unique methods, several important aspects of Indiana’s works clearly identify him as a Pop artist. He manages to give a direct and honest description of American culture while appearing cool and uninvolved, much as Warhol did by simply reproducing images of superstars and soup can labels.  In his most famous series Indiana took familiar words, usually three to five letters long, and repeated, reflected, or divided them. The simple familiarity of these words and the flattened manner in which Indiana presents them demonstrates the Pop art accessibility of content; viewers need not read much past the surface.

However, what distinguishes Indiana from his “Pop” colleagues is the depth of his personal engagement with his subject matter.  Indiana’s works all speak to the vital forces that have shaped American culture in the late half of the 20th century: personal and national identity, political and social upheaval and stasis, the rise of consumer culture, and the pressures of history.  He uses his art it to both celebrate and criticize the national way of life.

By presenting familiar words in new ways, he asks the viewer to reevaluate assumptions and emotions associated with those words.  For example, no longer does the word “eat” simply describe an act, but a whole set of social conditions and practices associated with that act. Viewers might see the intimacy of eating and its central role in family, community, and romantic rituals or they might understand the negative aspects of eating in a society where high-fat, sugar-rich diets are the norm.

The same is true of Indiana’s most famous piece, his LOVE sculpture of 1966. By using block letters in bold, bright colors and dividing the word in half, he presents “love” in an unfamiliar way, thus asking the viewer what this familiar term means personally. His preoccupation with LOVE became an exploration of complicated relationships and his spiritual nature.

WOW! – Work of the Week 6/22/15

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Julian Opie, Walking in the Rain, London

Julian Opie Walking in the Rain, London 2015

Julian Opie Walking in the Rain, London 2015

Julian Opie
Walking in the Rain, London
2015
Screenprint on Somerset Satin tub sized 410 gsm paper
59 x 86 3/8 in.
Edition of 50
This piece is signed and numbered.

About This Work:

In his newer works, like Walking in the Rain, London, we start to see more complexity in Opie’s figures when compared to his very minimal and simplistic figures of the past.  In his newest works, Walking in the Rain, London and Walking in the Rain, Seoul Opie is introducing elements of consumerism, technology and 21st century issues.

This can be seen by his use of brand names in both works. For Walking in the Rain, London he shows us a bag with Tate Museum’s logo and a Tesco shopping bag, which is a supermarket in the UK, as well as people listening to their ipods and smart phones.

While his figures are still void of facial features, Opie brings our attention to the fact that the clothes and shoes we wear, the places we patron and the gadgets we use in a way define us as individuals, as a city and as a society. This work in a sense is anthropological as it speaks to the time and the current state of how we interact and live by capturing different people going different directions and all in the same place.

About Julian Opie:

Julian Opie is a visual artist, and one of the New British Sculpture movement.

He is one of the most significant artists of his generation whose artistic preoccupation has investigated the idea of representation and the means by which images are perceived and understood. Throughout his practice, Opie has developed his own reductive formal language which seeks to reflect, not reality itself, but rather the way in which reality is represented: his distinctive language of discipline and formal consistency which is employed in his current portrait and landscape work.

He says, he sets out to strip things down, the purpose being to reflect and play on not just other art, but on the artifice that he thinks frames contemporary experience: how what is seemingly natural in human behavior is made up of learned performance codes, how artistic conventions constrain artistic practice.

In his portraiture, the human face is sometimes characterized by black outlines with flat areas of color, and minimalized detail, to the extent that an eye can become just the black circle of the pupil, and sometimes a head is represented by a circle with a space where the neck would be, Opie tries to portray someone’s personality in as little detail as possible.

Opie uses computers in art for other works. His Imagine you are… series, demonstrated how activities such as driving, walking and climbing could be represented by simple reductions. In addition, Opie uses sculpture and light installations to present items of everyday life.

Opie themes: engagement with art history, use of new technology, obsession with the human body.  Opie loves to work with one idea across different media; painting, granite, silkscreen and LED animation.

Combrat Boy Signing with Ron English

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Signing event of Combrat Boy

Gregg Shienbaum Fine Art’s first published edition work with artist RON ENGLISH

Release Date for Combrat Boy Lenticular is Friday, May 9, 2015 at 10 am EST

Ron English Combrat Video

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Ron English with Gregg Shienbaum signing Combrat Boy, the published edition by Gregg Shienbaum Fine Art

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Ron English signing number 5 of the 10 Combrat Boy lenticular works

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Ron English and Gregg Shienbaum proudly presenting Combrat Boy

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Ron English and Gregg Shienbaum with printer Mark Diamond

Ron and Gregg with excited about the release of Combrat Boy

Ron and Gregg with excited about the release of Combrat Boy

WOW! – Work of the Week 4/13/15

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Andy Warhol, Flowers FS II.68

Andy Warhol Flowers FS II.68 1970

Andy Warhol Flowers FS II.68 1970

Andy Warhol
Flowers FS II.68
1970
Screenprint on paper
36 x 36 in.
This piece is signed in ball-point pen and numbered with a rubber stamp on verso.

About This Work:

Warhol’s Flowers paintings were initially inspired by a photograph of several hibiscus flowers taken by Patricia Caulfield, the then executive editor of Modern Photography magazine. Her article focused on how new, available photographic technology could be used to manipulate color. Warhol appropriated her image of the flowers, cropped, copied, enhanced the contrast and eventually settled on a square format, where the artworks could be viewed from any orientation. Flowers reveal Warhol’s vibrant color palate and bold graphic sensibilities.

About Andy Warhol:

He was one of the most enigmatic figures in American art. His work became the definitive expression of a culture obsessed with images. He was surrounded by a coterie of beautiful bohemians with names like Viva, Candy Darling, and Ultra Violet. He held endless drug- and sex-filled parties, through which he never stopped working. He single-handedly confounded the distinctions between high and low art. His films are pivotal in the formation of contemporary experimental art and pornography. He spent the final years of his life walking around the posh neighborhoods of New York with a plastic bag full of hundred dollar bills, buying jewelry and knick knacks. His name was Andy Warhol, and he changed the nature of art forever.

Andy Warhol was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings.

During this time, Warhol had also been working on a series of pictures separate from the advertisements and illustrations. It was this work that he considered his serious artistic endeavor. Though the paintings retained much of the style of popular advertising, their motivation was just the opposite. The most famous of the paintings of this time are the thirty-two paintings of Campbell soup cans. With these paintings, and other work that reproduced Coca-Cola bottles, Superman comics, and other immediately recognizable popular images, Warhol was mirroring society’s obsessions. Where the main concern of advertising was to slip into the unconscious and unrecognizably evoke a feeling of desire, Warhol’s work was meant to make the viewer actually stop and look at the images that had become invisible in their familiarity. These ideas were similarly being dealt with by artists such as Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg — and came to be known as Pop Art.

Throughout the late 1950s and 1960s, Warhol produced work at an amazing rate. He embraced a mode of production similar to that taken on by the industries he was mimicking, and referred to his studio as “The Factory.” The Factory was not only a production center for Warhol’s paintings, silk-screens, and sculptures, but also a central point for the fast-paced high life of New York in the ’60s. Warhol’s obsession with fame, youth, and personality drew the most wild and interesting people to The Factory throughout the years. Among the regulars were Mick Jagger, Martha Graham, Lou Reed, and Truman Capote. For many, Warhol was a work of art in himself, reflecting back the basic desires of an consumerist American culture. He saw fame as the pinnacle of modern consumerism and reveled in it the way artists a hundred years before reveled in the western landscape. His oft-repeated statement that “every person will be world-famous for fifteen minutes” was an incredible insight into the growing commodification of everyday life.

By the mid-’60s, Warhol had become one of the most famous artists, in the world. He continued, however, to baffle the critics with his aggressively groundbreaking work. His paintings were primarily concerned with getting the viewer to look at something for longer than they otherwise would.

Throughout the ’70s and ’80s, Warhol produced hundreds of portraits, mostly in silk screen. His images of Liza Minnelli, Jimmy Carter, Albert Einstein, Elizabeth Taylor, and Philip Johnson express a more subtle and expressionistic side of his work.

Following routine gall bladder surgery, Andy Warhol died February 22, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick’s Cathedral in New York that was attended by more than 2,000 people.

WOW! – Work of the Week 4/6/15

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Andy Warhol, Jacqueline Kennedy II

Andy Warhol Jacqueline Kennedy 1966

Andy Warhol Jacqueline Kennedy 1966

Andy Warhol
Jacqueline Kennedy II
1966
Screenprint on paper
24 x 30 in.
This piece is signed with a rubber stamp and numbered in pencil on verso.

About This Work:

This work captures first lady, Jackie Kennedy at her husband’s funeral. Andy Warhol chose this image of Jackie because of her expressionless state. Upon close inspection the viewer sees the doubled lack of emotion and feeling in her facial expression and her dead stare into space.

She had just lost her husband, and the country their beloved President JFK. Her blank stare and somber being symbolizes how America felt int his time of loss. America in a time of uncertainty and mourning was just as lost without JFK as Jackie Kennedy was without her husband.

About Andy Warhol:

He was one of the most enigmatic figures in American art. His work became the definitive expression of a culture obsessed with images. He was surrounded by a coterie of beautiful bohemians with names like Viva, Candy Darling, and Ultra Violet. He held endless drug- and sex-filled parties, through which he never stopped working. He single-handedly confounded the distinctions between high and low art. His films are pivotal in the formation of contemporary experimental art and pornography. He spent the final years of his life walking around the posh neighborhoods of New York with a plastic bag full of hundred dollar bills, buying jewelry and knick knacks. His name was Andy Warhol, and he changed the nature of art forever.

Andy Warhol was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings.

During this time, Warhol had also been working on a series of pictures separate from the advertisements and illustrations. It was this work that he considered his serious artistic endeavor. Though the paintings retained much of the style of popular advertising, their motivation was just the opposite. The most famous of the paintings of this time are the thirty-two paintings of Campbell soup cans. With these paintings, and other work that reproduced Coca-Cola bottles, Superman comics, and other immediately recognizable popular images, Warhol was mirroring society’s obsessions. Where the main concern of advertising was to slip into the unconscious and unrecognizably evoke a feeling of desire, Warhol’s work was meant to make the viewer actually stop and look at the images that had become invisible in their familiarity. These ideas were similarly being dealt with by artists such as Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg — and came to be known as Pop Art.

Throughout the late 1950s and 1960s, Warhol produced work at an amazing rate. He embraced a mode of production similar to that taken on by the industries he was mimicking, and referred to his studio as “The Factory.” The Factory was not only a production center for Warhol’s paintings, silk-screens, and sculptures, but also a central point for the fast-paced high life of New York in the ’60s. Warhol’s obsession with fame, youth, and personality drew the most wild and interesting people to The Factory throughout the years. Among the regulars were Mick Jagger, Martha Graham, Lou Reed, and Truman Capote. For many, Warhol was a work of art in himself, reflecting back the basic desires of an consumerist American culture. He saw fame as the pinnacle of modern consumerism and reveled in it the way artists a hundred years before reveled in the western landscape. His oft-repeated statement that “every person will be world-famous for fifteen minutes” was an incredible insight into the growing commodification of everyday life.

By the mid-’60s, Warhol had become one of the most famous artists, in the world. He continued, however, to baffle the critics with his aggressively groundbreaking work. His paintings were primarily concerned with getting the viewer to look at something for longer than they otherwise would.

Throughout the ’70s and ’80s, Warhol produced hundreds of portraits, mostly in silk screen. His images of Liza Minnelli, Jimmy Carter, Albert Einstein, Elizabeth Taylor, and Philip Johnson express a more subtle and expressionistic side of his work.

Following routine gall bladder surgery, Andy Warhol died February 22, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick’s Cathedral in New York that was attended by more than 2,000 people.

Press Release – Andy Warhol: Withstanding The Test Of Time

Posted on by in - Press

ANDY WARHOL WITHSTANDING THE TEST OF TIME MARCH 12 – APRIL 11, 2015 

[no title] 1967 by Andy Warhol 1928-1987Andy Warhol, Marilyn Monroe, FS II.25, 1967, Screenprint, 36 x 36 in., Edition of 250, Signed and numbered on verso

Gregg Shienbaum Fine Art will be exhibiting over 40 works by Andy Warhol. An exhibition of this magnitude has never been seen in Miami before.

The gallery, which specializing in contemporary masters, also exhibits newer contemporary artist. This exhibition shows how after 50 years, the works of Andy Warhol are still relevant to the world today, and how the new generation of artists are influenced by Warhol.

For more about Andy Warhol and his influence please read below.

To understand Andy Warhol and his art, one must first understand the art movement of the time, which came to be known as the POP art movement, and secondly the artist himself. Since 1943, American Modern art was dominated by Abstract Expressionism. Artists such as Jackson Pollock, Robert Motherwell and Willem de Kooning believed that art was about the raw, physical mark, or “gesture” made when the artist applied paint to the canvas.

As a reaction to the dominance of Abstract Expressionism in art and a culture now driven by consumerism, the artists Jasper Johns and Robert Rauschenberg represented a new generation of artist that wanted to reflect the reality of the humdrum life around them, which was modern America in the 1950s. These two artists reach new heights and broke new ground in their own individual styles. These two artists paved the way for Andy Warhol, however, while Johns and Rauschenberg chose objects so familiar that they were overlooked, Warhol would take images so popular that they already had mass appeal. He would be as bold and as brash as the advertisements and products surrounding him. He figured that one would interpret the icons and artifacts of the consumer boom in two ways. The idealized images of perfect people and faultless products could be seen as clichés or classicism. They can be viewed as a crass and exploitative picture or they can be viewed as celebrating the ideal of perfection.

To reveal this psychological tension, Warhol went to his mother’s place for lunch to think about a suitably “low” motif. When he arrived there he sat down and consumed the same meal he had been eating for the past 20 years – a slice of bread and a can of Campbell’s soup. The Campbell’s soup can would not only define him as an artist, but also define POP art and the movement’s overriding obsession with mass production and consumer culture.

His method of screenprinting images on either canvas or paper made him successful in removing almost all evidence of the artist’s presence from the paintings. The power of the work was in its dispassionate coldness, communicated by the apparent absence of the artist’s hand. The images of the paintings parodies the methods of modern advertising, which aims to infiltrate the public’s consciousness in order to indoctrinate and persuade by bombarding us with multiple exposures of the same image.

Warhol also challenges the idea that art should be original, as well as the tradition of the art market, which places value – financial and artistic – on perceived rarity and uniqueness. Warhol’s decision not to create his own images also furthers Marcel Duchamp’s idea that the art world falsely elevates artists to the role of all seeing geniuses.

This amazing, unselfish contribution to art can be seen in many artists today. The Chinese artist, Ai Weiwei paints his consumer driven influenced images on 1,000 year old antique artifacts, removing himself from his art and its message. The anonymous stencil artist Banksy removes himself from his work, not only by remaining anonymous, but also by using a pre-made stencil, which also removes the artistic hand in his artworks and his messages. Jeff Koons uses images of puppies, Popeye and tulips in high polished mirror finish to remove the hand of the artist.

There are many artists today from Koons to Ai Weiwei to Banksy, Shepard Fairey, Nate Lowman and countless others whose personas, works and ideas owe a debt of gratitude to their predecessor, Andy Warhol. For without Warhol, none of their great minds could have flourished.

Andy Warhol withstands the test of time.

WOW! – Work of the Week 3/30/15

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Andy Warhol, Washington Monument

Andy Warhol Washington Monument 1974

Andy Warhol Washington Monument 1974

Andy Warhol
Washington Monument
1974
Screenprint on wallpaper
43 7/8 x 29 5/8 in.
This piece is stamped authentic by The andy Warhol Foundation on verso.

About This Work:

In 1974, the United States was in a very trying time, with much conflict, President Nixon’s resignation and a bumbling President Ford in office. All was in a state of flux and uncertainty. Warhol’s Washington Monument reassures the viewer that The United States will get through these troubling times.

The simple line drawing with the reflection of the Washington Moument on The Mall Lake symbolizes the country’s strength and stands as a rising beacon of freedom, hope and liberty. It is a reminder that America is the greatest country.

About Andy Warhol:

He was one of the most enigmatic figures in American art. His work became the definitive expression of a culture obsessed with images. He was surrounded by a coterie of beautiful bohemians with names like Viva, Candy Darling, and Ultra Violet. He held endless drug- and sex-filled parties, through which he never stopped working. He single-handedly confounded the distinctions between high and low art. His films are pivotal in the formation of contemporary experimental art and pornography. He spent the final years of his life walking around the posh neighborhoods of New York with a plastic bag full of hundred dollar bills, buying jewelry and knick knacks. His name was Andy Warhol, and he changed the nature of art forever.

Andy Warhol was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in 1949. That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings.

During this time, Warhol had also been working on a series of pictures separate from the advertisements and illustrations. It was this work that he considered his serious artistic endeavor. Though the paintings retained much of the style of popular advertising, their motivation was just the opposite. The most famous of the paintings of this time are the thirty-two paintings of Campbell soup cans. With these paintings, and other work that reproduced Coca-Cola bottles, Superman comics, and other immediately recognizable popular images, Warhol was mirroring society’s obsessions. Where the main concern of advertising was to slip into the unconscious and unrecognizably evoke a feeling of desire, Warhol’s work was meant to make the viewer actually stop and look at the images that had become invisible in their familiarity. These ideas were similarly being dealt with by artists such as Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg — and came to be known as Pop Art.

Throughout the late 1950s and 1960s, Warhol produced work at an amazing rate. He embraced a mode of production similar to that taken on by the industries he was mimicking, and referred to his studio as “The Factory.” The Factory was not only a production center for Warhol’s paintings, silk-screens, and sculptures, but also a central point for the fast-paced high life of New York in the ’60s. Warhol’s obsession with fame, youth, and personality drew the most wild and interesting people to The Factory throughout the years. Among the regulars were Mick Jagger, Martha Graham, Lou Reed, and Truman Capote. For many, Warhol was a work of art in himself, reflecting back the basic desires of an consumerist American culture. He saw fame as the pinnacle of modern consumerism and reveled in it the way artists a hundred years before reveled in the western landscape. His oft-repeated statement that “every person will be world-famous for fifteen minutes” was an incredible insight into the growing commodification of everyday life.

By the mid-’60s, Warhol had become one of the most famous artists, in the world. He continued, however, to baffle the critics with his aggressively groundbreaking work. His paintings were primarily concerned with getting the viewer to look at something for longer than they otherwise would.

Throughout the ’70s and ’80s, Warhol produced hundreds of portraits, mostly in silk screen. His images of Liza Minnelli, Jimmy Carter, Albert Einstein, Elizabeth Taylor, and Philip Johnson express a more subtle and expressionistic side of his work.

Following routine gall bladder surgery, Andy Warhol died February 22, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick’s Cathedral in New York that was attended by more than 2,000 people.