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ANDY WARHOL About This Work: Andy Warhol was the most successful and highly paid commercial illustrator in New York even before he began to make art destined for galleries. Neverthless, his screenprinted images of Marilyn Monroe, soup cans, movie stars and sensational newspaper stories, quickly became synonymous with Pop Art. Pop Art marked an important new stage in the breakdown between high and low art forms. Warhol’s paintings from the early 1960s were important in pioneering these developments, but it is arguable that the diverse activities of his later years were just as influential in expanding the implications of Pop Art into other spaces, and further eroding the borders between the worlds of high art and popular culture. Andy Warhol is now considered one of the most influential artists of the second half of the 20th century, who created some of the most recognizable images ever produced. After the the success of the Campbell’s Soup Series in the early 1960s, indeed, Warhol began creating screenprints of movie star portraits including Marilyn Monroe, Elvis Presley, Elizabeth Taylor and Ingrid Bergman. The Ingrid Bergman Series is made up of three types of screen prints. The source images used for these portrait pieces include a publicity photo (Herself), and movie stills from her role in Casablanca (With Hat) and from the movie The Bell of St. Mary’s (The Nun). Of course, when we think of Ingrid Bergman, we think of her playing Ilsa, the long lost love interest of Rick, played by Humphrey Bogart. No one can ever forget Bergman standing on the runway, all teary eyed and wearing the famous hat, as Bogart makes her get on that plane. However, many people do not realize that the movie The Bell Of St. Mary’s was enormously popular, the highest-grossing movie of 1945 in the USA. In this movie, Ingrid Bergman is the leading female role and stars together with famous actor and singer Bing Crosby, who plays the unconventional Father Charles “Chuck” O’Malley, assigned to St. Mary’s parish. The parish includes a school building on the verge of being condemned; but the sisters of the parish feel that God will provide for them. Father O’Malley and the dedicated but stubborn Sister Superior, Mary Benedict (Ingrid Bergman), both wish to save the school, but they have different views and methods. This portrait of Ingrid Bergman in her most severe role is made even more dramatic in this iconic print. The vibrant color palette is made dynamic through Warhol’s exciting element of abstraction, the yellow lines making her figure and makeup pop, with her hands clasped in prayer and only sketched with yellow lines. Like the majority of his works, once again, this print is indicative of Warhol’s obsession with all things relating to fame, especially movie stars. For this reason, his artwork can also be considered as a sort of visual recording of the culture of his time. |
Tag Archives: gallery
WOW – Work Of the Week – Josef Albers “SK-ED”
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JOSEF ALBERS About This Work: Kn |
WOW – Work Of the Week – Marilyn Minter “Prism”
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MARILYN MINTER About This Work: Marilyn Minter (born in 1948) is an American contemporary photographer/artist. Marilyn Minter has been a part of the New York art scene since the late 1970s. Her artistic career started with a series of now celebrated photographic studies of her drug-addicted mother while she was still a student in Florida. Starting from the 1990s, she started to gradually refine her style and imagery so that, while still suggesting some kind of sexual undercurrent, her photographs and paintings seem equally to breathe the atmosphere of high fashion and contemporary glamour. For over three decades, Marilyn Minter has produced lush paintings, photographs, and videos that vividly manifest our culture’s complex and contradictory emotions around the feminine body and around the concept of beauty, by bringing into sharp, critical focus the power of desire. Prism is a refined version of Minter’s early works, which despite still having pornographic undertones, exudes a sense of glamour and high-fashion. Through this work, one can see how Marilyn Minter both celebrates and criticizes glamour. By depicting these sexy red lips, with shiny jewels and sparkling glitters, that reflect light, she is portraying the complexities of glamour. This work not only depicts glamour, but also what glamour “feels like”. Marilyn Minter has been the subject of numerous solo exhibitions and group exhibitions all over the worlds. In April 2015 Marilyn Minter opened her first major retrospective in the Museum of Contemporary Art Houston. This exhibition contains works that Minter had developed from 1976 to 2013. Perfectly suited, the exhibit was titled Pretty/Dirty. |
Ahol Sniffs Glue New Print Release “REDRUM”
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GREGG SHIENBAUM FINE ART is proud to present its second editioned work with Miami Artist AHOL SNIFFS GLUE |
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Limited to only 50 pieces. This new work titled “REDRUM” is in the style of Abstract Expressionism. Highly influenced by this movement, Ahol breaks away from his well known style of the “classic pattern”. In this screenprint the viewer can see the brush strokes of raw emotion poured into the work. This print is a very meaningful work to the artist. It is his first screenprint on paper published with Gregg Shienbaum Fine Art, and it is a work that depicts his feelings about the state of our nation and the world. Ahol’s Eyeballs represent the eyes of the working class. Usually seen in his typical pattern, Ahol paints these eyes to let the everyday working class person know that he is with them. Painted on walls, cars, canvas, and anywhere he can, Ahol throws up a shout out to the regular guy, just going through the daily grind, of just making it to survive. REDRUM (Murder spelled backwards), depicts the sad state of the killings in our communities, here at home, and around the world. Innocent victims being shot down for just trying to get by, and live their lives. Whether it is everyday working people in our streets and communities, law enforcement, people at a night club, or a someone overseas. This new screenprint by Ahol depicts the chaos, the turbulence, the anger, and the sadness of what is going on in our neighborhoods. Painted in fluorescent red ink, to symbolize the blood spilled, and running through our streets, this expressionistic style allows for more artistic freedom that the Ahol has been wanting to achieve. This style not only portrays the tension, and whirlwind of emotions that effect the people and the community, but also gives us a sense of the artist’s pure inner feelings. This new style has more of a free flowing quality, that shows the artist’s emotion, growth, depth, and dimension.
GREGG SHIENBAUM FINE ART IS PLEASED TO BE PART OF THIS The details of this new edition are below.
Ahol Sniffs Glue signing the REDRUM screenprints.  Ahol Sniffs Glue in front of his work REDRUM
Click HERE to see the video of Ahol signing the screenprints.
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WOW – Work Of the Week – John Baldessari “Person On Horse And Person Falling From Horse (With Audience)”
%20stock.jpg "Intersection Series (Person On Horse Person Falling From Horse with Audience) stock") |
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JOHN BALDESSARI About This Work: Known as the Godfather of Conceptual Art, John Baldessari has defied formalist categories by working in a variety of media — creating films, videotapes, prints, photographs, texts, drawings, and multiple combinations of these. In his use of media imagery, Baldessari is a pioneer “image appropriator”, and as such has had a profound impact on post-modern art production. Born on June 17, 1931 in National City, CA, John Baldessari has been instrumental in the West Coast art scene. His artwork has influenced a generation of conceptual artists like Cindy Sherman, Barbara Kruger, David Salle and many other younger artists. He may be best known as the artist that “Put dots over people’s faces”, but through his diverse practice that includes paintings, sculpture, and installations, the artist shaped the Conceptual Art landscape. By blending photography, painting, and text, Baldessari’s work examined the plastic nature of artistic media while offering commentary on our contemporary culture. What John Baldessari does, is he fuses photography, montage, painting and text to create complex compositions that explore the several interpretations of cultural iconography. He sources his wide range imagery from the larger visual world, primarily finding inspiration in advertising and film. This work, Person On Horse And Person Falling From Horse (With Audience), from the Intersection Series, is a perfect example of the manner in which Baldessari deconstructs found images of action and perception stereotypes of the mass media. This series features contrasting collaged images enclosed in rectangles and juxtaposed, each one with a different theme and title. The superposition of several image sections results in a complete “cinematic” sequence: under the eyes of two applauding spectators a cowboy falls from his horse, while the Indians remains firmly in power. In order to subvert common associations, John Baldessari brings one’s attention to minute details, absurd juxtapositions, and obscured or fragmented portions of such imagery. His artistic process focuses on the perception and interpretation of visual elements and text, while often employing irony to make playful assertions about how meanings and interpretations are formed. The Intersection Series work blends photographic materials such as these film stills, which Baldessari takes out of their original context, and rearranges their form. We have also attached a link to a video Called the “History of John Baldessari”. It is a 5 minute video narrated by muscian Tom Waits. It is very entertaining, informative, and very funny!!! Please have a look and enjoy! |
Biscayne Boyz New Music Video
*BISCAYNE BLOCK BOYZ*
NEW MUSIC VIDEO
by AHOL SNIFFS GLUE and OTTO VON SCHIRACH
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Ahol Sniffs Glue has just released a new music video with Otto Von Schirach.
The video has been featured in the Miami New Times… Link to the full article HERE
WOW – Work Of the Week – Robert Indiana “American Dream #5”
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ROBERT INDIANA About This Work: “Among the rain Robert Indiana is one of the original 6 American Pop artists who, back in the 1970s, literally changed the world of art. Subsequently, he moved to Vinalhaven, a place that has acquired an allure of almost mystical isolation, throughout the years. Here Indiana has retired from the world since 1978, although still actively working and producing art. In 1964, when he was still living in New York City, Indiana moved from his first place, a building called Coenties Slip, to a five-story building in the Bowery. In 1969, he began renting the upstairs of a building called “The Star of Hope”, in the island town of Vinalhaven, Maine, as a seasonal studio, from the photographer Eliot Elisofon. This place was wider and very functional for his big works. Half a century earlier, Marsden Hartley, the main source of inspiration for Indiana’s Hartley Elegies suite, had made his escape to the same island. When Elisofon died, Indiana moved in full-time. Indiana’s work often consists of bold, simple, iconic images, especially numbers and short words. His best known example is LOVE, used in countless paintings, prints and sculptures. American Dream #5 is not only referring specifically – through its title – to another painting by another major American painter, Charles Demuth, but it is also a pictorial hymn to a poem by William Carlos Williams, that inspired Demuth himself. Charles Demuth painted a work titled I Saw The Figure 5 In Gold, inspired by Williams’ poem The Great Figure. The poet, in turn, was inspired by seeing a fire truck passing down the street at full speed, with a big gold silhouette of a 5 on the background. One can clearly see the shades of gray that make stand out the other bright and strong colors. The geometrical shapes of stars and circles, and the progressive size of the figure 5, create an optical illusion of movement and speed, making the figure 5 pop and vibrate off the paper as the view stares at it. This chain of poetical and pictorial allusions is enriched in this work by a whole other chain of references to birth or death dates that form a web of intricate numerological references based on various coincidences: Demuth’s painting is dated 1928 – also the year of Indiana’s birth. Indiana’s painting is dated 1963 – also the year of Carlos Williams’ death. The succession of rows of three 5s suggests the figure 35: Demuth died in 1935. This succession of 5s is also describing the sudden progression of the firetruck in the poet’s experience. American Dream #5 itself is composed like a poem, and its cruciform shape remains Indiana’s unmistakable mark. The monosyllabic words like EAT, HUG, ERR, DIE, also belong to Indiana’s own poetry. Again, here autobiography occupies an important role as well: EAT & DIE refer to his mother’s last word before she died. American Dream #5 is Indiana’s most impressive and important work. The poetical, numerological, biographical associations embedded in this work make this jazzy though straightforward artwork one of the most complex works of Indiana’s career and in American Pop art. |
WOW – Work Of the Week – Andy Warhol “Portraits Of The Artists”
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ANDY WARHOL About This Work: Andy Warhol was the most successful and highly paid commercial illustrator in New York even before he began to make art destined for galleries. Neverthless, his screenprinted images of Marilyn Monroe, soup cans, and sensational newspaper stories, quickly became synonymous with Pop Art. Pop Art marked an important new stage in the breakdown between high and low art forms. Warhol’s paintings from the early 1960s were important in pioneering these developments, but it is arguable that the diverse activities of his later years were just as influential in expanding the implications of Pop Art into other spaces, and further eroding the borders between the worlds of high art and popular culture. Andy Warhol is now considered one of the most influential artists of the second half of the 20th century, who created some of the most recognizable images ever produced. Warhol was part of a very exclusive group of artists that the famous and influential New York dealer, Leo Castelli, represented. In 1967 Warhol created Portraits of the Artists, a work that depicts the portraits of 10 artists chosen and represented by Castelli. Sticking with Warhol’s signature style of repetition, he multiplied the artists’ portraits ten times in ten different colors on 3-D polystyrene boxes, each measuring at approximately 2 x 2 inches. The 100 boxes totaled to approximately 20” x 20” when lined up. The artists include Robert Morris, Jasper Johns, Roy Lichtenstein, Larry Poons, James Rosenquist, Frank Stella, Lee Bontecou, Donald Judd, Robert Rauschenberg and Andy Warhol himself. Warhol used the power of the portrait to bring forth the idea of America’s infatuation with celebrity, and the effects of the celebrity in our culture. Pop culture was not only just about Coca Cola bottles, Campbell’s Soup Cans, and Brillo boxes, but also about taking TV, film, music, or literary personalities and exploiting the concept of celebrity. What a better way to pay homage and respect to the most important artists of the time by having Andy Warhol create a work of art that said so much about the artist’s influence on our culture, with just their portraits. No words were needed. The use of repetition is also typical of Andy Warhol. Warhol used silkscreen as his medium of choice. It served as a way to remove the hand of the artist in art, a concept Marcel Duchamp introduced to the art world in the early part of the century. Warhol’s biggest influence in art was Duchamp. Repetition also allowed the artists to further their concepts, by reaching a greater amount of people. Printmaking was the best way to achieve this. By making multiples of a work, more people can own the work, sell the work, and are exposed to the work. It was this marketing that led to Andy Warhol becoming a celebrity himself. |
WOW! – Work of the Week – Clandestine Culture “I Came Back” 10/05/15
Clandestine Culture, I Came Back
Clandestine Culture
я вернулся, (I CAME BACK)
2014
Acrylic on Wood
81 x 48
Signed on verso
About This Work:
This work titled “I Came Back” or “я вернулся” (in Russian), by Miami Street Artist CLANDESTINE CULTURE,could not be more relevant today then ever before. “For those 25 years of age or younger, the Soviet Union symbol of the Hammer and Sickle, mean nothing. There is an age group that has never seen that symbol, or even knew of a Soviet Union” says the artist.
What this work represents is exactly what the artist wants that age group, 25 years or younger, to understand. That message is that history repeats itself. Painted in 2014, during Russia’s invasion into Crimea, and aggressive military intervention in Ukraine, this painting forewarns the world of what is to come. Russian President Putin flexes his political muscles, and lets the world know that he, and Russia are coming back. They are not the weakened Russia, that perhaps the world sees them as.
Fast forward to 2015, and we see President Putin is at it again, aligning himself with Syria, and positioning his stronghold in the Middle East. Showing that Russia is still a “super power”, and standing up to America
Painted in the old Soviet Union colors of red and gold, this painting is rather simple, but very powerful in its message. Depicting the iconic Hammer and Sickle, with star and olive branches as the main focal point, they symbol says it all. The words “I Came back” written in Russian lets us know, that this is a message about the present, and a warning about the future.
This is exactly what street art intends to do. Historically, street art has always contained a social, a political, and an environmental message. The art challenges the viewer to react not only to the artwork, but to the substantive issues, and surroundings that is being discussed.
Make no mistake, Street Art is not just pretty paintings on a wall. That would be simply called a mural. Street Art is much more important than that. Street Art has substance, context, and a concept. Whether it is Haring talking about AIDS, or Apartheid, Basquiat discussing issues of racism, drugs, and struggle of daily life, or Banksy’s witty paradoxical installations and wall drawings, Street Art has become a depiction and a reaction to the world most important issues, and struggles. Its “in your face” style, is arguably the most reactionary art movement that the art world has yet to witness.
Never before has an art movement, been so literal, and purposeful. Like his predecessors Haring and Basquiat, and his contemporaries Banksy and Shepard Fairey, CLANDESTINE CULTURE focuses on the world’s issues around us, and challenges us to acknowledge, question, and react.
About The Artist:
The artist chooses to remain anonymous. He hits the street with his face and head completely covered. He believes that the painting and the message is more important then the artist. He uses everyday people, images and words, to show that in the end, we are all part of one world wide culture…A CLANDESTINE CULTURE
For more information and price please contact the gallery at info@gsfineart.co
WOW! – Work of the Week 4/6/15
Andy Warhol, Jacqueline Kennedy II
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.