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Tag Archives: streetart
WOW – Work Of the Week – Basquiat “Hollywood Africans In Front Of The Chinese Theater With Footprints Of Movie Stars”
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JEAN-MICHEL BASQUIAT Hollywood Africans In Front Of The Chinese Theater With Footprints Of Movie Stars1983/201523 color screenprint38 1/2 x 84 in.Artist’s Proof (A.P.) of 15Certified authentic, signed, dated and numbered on verso by Lisane Basquiat and Jeanine Heriveaux of the Jean-Michel Basquiat Estate
About This Work: In less than a decade the painter Jean-Michel Basquiat went from being a teenage graffiti writer to an international art star; he was dead of a drug overdose at age twenty-seven. A legend in his own lifetime. Basquiat’s meteoric success and overnight burnout were an instant art-world myth; his brief career spanned the giddy ’80s art boom and epitomized its outrageous excess, from its art dealers to its drug dealers, from its clubs to its galleries, from Madonna to Warhol. Basquiat was very fearful of the unfavorable racial reality in America, and saw himself as in no small amount of danger. These feelings often presented themselves in Basquiat’s work, which was typically socially and politically charged. His paintings were highly symbolic in nature and often focused on what he saw as intrinsic dichotomies, such as the wealthy versus the impoverished or integration versus segregation. The subject of this impressive artwork is related to the widely known 1983 artwork Hollywood Africans, currently owned by the Whitney Museum of American Art. It depicts Basquiat with friends, the artists Toxic and Rammellzee. Toxic is the figure on the left, Rammellzee is the central face (as it can be seen by the green letters RMLZ on top of the head) and Basquiat is the right figure, as it can also be deduced from the typical shape of Basquiat’s hair. Hollywood Africans represents a commentary on the stereotyping and marginalizing of African Americans in the entertainment industry. This theme led these three artists to coin the term and refer to themselves as the “Hollywood Africans”. Furthermore, this is a very current theme, it has even been the controversy of last night’s Oscars ceremonies, where several black actors and actresses have emphasized the necessity of equal rights and wages in the movie industry. In this work, Basquiat challenges the art world by merging academic and “primitive” through his neo-expressionist style, which is recognizable by some stylistic choices: for example, when he chooses to represent his teeth not by drawing them but by writing the word TEETH, which is graphically very similar to what can be a a set of teeth. We can also notice his typical calligraphy, tough gesture and shrill colors. This is a very important work. It is a very large, moving, biographical, historical account based on the artist’s life and the recurrent issues that surrounded him during his time, and which continue to linger on in today’s time.  Jean-Michel Basquiat, Hollywood Africans, 1983, acrylic and oil stick on canvas, 84 1/16 x 84 in.  NBA all star of the Miami Heat and renown art collector Amare Stoudemire with Basquiat’s Hollywood Africans In Front Of The Chinese Theater With Footprints Of Movie Stars in his new Miami home.
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Miami Artisti Ahol Sniffs Glue Signing first Gregg Shienbaum Fine Art Edition “Balls To The Walls”
Gregg Shienbaum Fine Art is pleased to present its first edition with Miami Artist Ahol Sniffs Glue.
Limited to only 30 pieces and is laser cut on walnut wood.
The Eye Pattern is cut out all the way through. So what ever the background color of the wall you choose to hang it on is the color the eyes will be. It can also be framed as well.
We did not want to do a regular print on paper, we wanted to do something more unique and more substantial.
The details of this new edition are below as well as photos of the work and of Ahol signing the piece.
- Ahol Sniffs Glue
- Balls To The Walls
- 2015
- laser cut out on walnut wood
- 32 x 24 x 1/8 in.
- Edition of 30
- Signed and numbered
- $650
* please note that the grain of the wood varies from piece to piece.
Gregg Shienbaum Fine Art’s “Keith Haring Narrated” Show features in Los Bandidos De L’Arte
WOW! – Work Of the Week – Shepard Fairey “Obey ’04 (Wage Peace)”
Shepard Fairey aka OBEY
OBEY ’04 (Wage Peace)
2006
Screenprint
42 x 30 in.
Edition of 89
Pencil signed and numbered
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ABOUT THIS WORK:
Shepard Fairey’s background is rooted in American skate and punk rock culture, with his work born out of a combination of a graffiti aesthetic and Pop art sensibilities. Straddling the divide between the fine art world and the street art world, Fairey—despite his massive popularity—has had to wait to be accepted by the more traditional art world. His higher profile has also, in turn, gotten him into some serious problems with law enforcement (he recently faced felony charges in Detroit, despite eighteen prior arrests for illegal tagging). Fairey said of this conflict: “To some people street art is vandalism, to others it’s gentrification, and either of those could be considered more legit than the other depending on your perspective“.
His artwork stands out in both the street and in a gallery setting. Although he is still viewed primarily as a street artist despite his indisputable commercial success. Fairey’s use of powerful, accessible images and messages display an influence from early advertising, alternative culture, and Pop artists like Andy Warhol. This combination of clear messaging and graphic compositions gives his work a broad appeal that speaks to a wide cross section of society. “Street art has to stand out from the static, and contend with the metabolism of the city“. He evokes communist propaganda, Barbara Kruger style advertorials and Jasper Johns subversion.
Fairey’s work also has a strong political component. He was already well known for his OBEY Andre the Giant tags and stickers before he created the image Obama Hope in 2008, a block-colored portrait of the presidential hopeful Barack Obama. The image, now world-famous, was subsequently adopted as the official presidential campaign image and became probably his most famous image. In addition, he also created a poster in support of Ai Weiwei’s—now successful—campaign to regain his passport in 2014.
Early in his career, during the OBEY sticker campaign that made him famous, Fairey seriously questioned the nature of his imagery, firmly establishing himself as an outspoken counter-culture figure, often addressing issues of war, human rights, ecology, and politics.
His art can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with this art provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail.
A perfect example of this is the work entitled Obey ’04, from the Retro Series. The silhouette of the soldier is a strong graphic form against the red background. Here we can see all the typical elements that characterize Fairey’s art: red, beige and black colors, modern and current subjects and the predominant presence of the graphic element.
Also present is the image Fairey became known for, the Andre The Giant face. This is represented by the soldier holding up this iconic image. We also see it in that sort of mandala shaped like a star in the upper right, a true symbol of the artist.
Fairey, who is definitely a pacifist, creates work that speak of peace and war, conveying his concern with politics.Here we can see the words “wage peace” instead of the typical “wage war”, and a flower inside the rifle instead of bullets.
The Obey ’04 from the Retro Series was created to commemorate the 20 year anniversary of the artwork of OBEY. The series was first released for the opening of Shepard’s 20 years Retrospective at the ICA Boston.
Gregg Shienbaum Fine Art’s “Keith Haring Narrated” Show features in Art Of Miami
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
Combrat Boy Signing with Ron English
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 with Gregg Shienbaum signing Combrat Boy, the published edition by Gregg Shienbaum Fine Art
Ron English signing number 5 of the 10 Combrat Boy lenticular works
Ron English and Gregg Shienbaum proudly presenting Combrat Boy
Ron English and Gregg Shienbaum with printer Mark Diamond
Ron and Gregg with excited about the release of Combrat Boy
WOW! – Work of the Week
Gregg Shienbaum Fine Art is proud to announce its first published edition with Ron English
Ron English, Combrat Boy
Ron English, Combrat Boy 3D Lenticular, 2015
Ron English
Combrat Boy
2015
3D Lenticular archival ink on acrylic
36 x 24 in.
Edition of 10
This piece is signed and numbered on verso.
About This Work:
A long admirer of his work and the message behind his art, Gregg Shienbaum has always wanted to work with Ron English. Together they did not want to publish a silkscreen on paper, but instead opted for a 3D lenticular. By publishing the piece in a small edition of 10, the piece is very limited, We expect to publish more editions of this caliber in the future.
About Ron English:
Ron English is an American contemporary artist who explores popular brand imagery and advertising. His signature style employs a mash-up of high and low cultural touchstones, including comic superhero mythology and totems of art history, to create a visual language of evolution. He is also widely considered a seminal figure in the advancement of street art away from traditional wild-style lettering and into clever statement and masterful trompe l’oeil based art. He has created illegal murals and billboards that blend stunning visuals with biting political, consumerist and surrealist statements, hijacking public space worldwide for the sake of art since the 1980s.
Culture jamming is one aspect of his work, involving ‘liberating’ commercial billboards with his own messages. Frequent targets of his work include Joe Camel, McDonald’s, and Mickey Mouse. Ron English can be considered the “celebrated prankster father of dollar-pop”, who wrangles carefully created corporate icons so that they are turned upside down, and are used against the very corporation they are meant to represent. Ron English is considered one of the fathers of modern street art. Some of his extralegal murals include one on the Berlin Wall’s Checkpoint Charlie in 1989 and one on the Palestinian separation wall in the West Bank in 2007, with fellow street artists Banksy and Swoon.
English is as well known for his photorealist technique and inventive use of color and comic book collage as he is for his unique cast of characters, including sexualized animals, skeletal figures, Marilyn Monroe with Mickey Mouse breasts, the corpulent fast food spokesman MC Supersized, and one of his most significant creations, Abraham Obama, a fusion of America’s 16th and 44th Presidents.
English takes inspiration from Andy Warhol and references him in his work. He also references the band KISS, and various cartoons. Also inspiration comes from the large billboards and posters he sees outside his Jersey City apartment, usually fast food companies.
English also references Picasso’s Guernica. He has created dozens of versions, transforming the original Spanish civilian characters into Disney characters, Peanuts characters, soccer players, schoolchildren, and many others. He also painted the world’s largest version of Guernica at the Station Museum in Houston. It is one foot longer and one foot wider than Picasso’s original and features schoolchildren playacting the violent scene of the original.
