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Art

Catharsis, Jean-Michel Basquiat, 1983

29 March 2023 in Art Comment

Catharsis, Jean-Michel Basquiat, 1983

Jean-Michel Basquiat
Catharsis

signed, titled and dated “Jean-Michel Basquiat CATHARSIS 1983” on the reverse
acrylic and oilstick on canvas, in three parts
72 x 93 3/4 in. (182.9 x 238.1 cm)
Executed in 1983

Provenance
Marsha Fogel, New York
Vrej Baghoomian Gallery, New York
Tony Shafrazi Gallery, New York
Phillips de Pury & Co., New York, May 12, 2005, lot 46
Private Collection
Christie’s, New York, November 8, 2011, lot 50
Acquired at the above sale by the present owner

Exhibited
New York, Vrej Baghoomian Gallery, Jean-Michel Basquiat, October 21 – November 25, 1989, no. 8, p. 9 (illustrated)

Literature
Tony Shafrazi, Jeffrey Deitch and Richard Marshall, eds., Jean-Michel Basquiat, New York, 1999, p. 181 (illustrated)
Richard Marshall, Jean-Michel Basquiat, Paris, 2000, no. 7, pp. 158-159 (illustrated)

Artist Biography
Jean-Michel Basquiat
American, 1960 – 1988

One of the most famous American artists of all time, Jean-Michel Basquiat first gained notoriety as a subversive graffiti-artist and street poet in the late 1970s. Operating under the pseudonym SAMO, he emblazoned the abandoned walls of the city with his unique blend of enigmatic symbols, icons and aphorisms. A voracious autodidact, by 1980, at 22-years of age, Basquiat began to direct his extraordinary talent towards painting and drawing. His powerful works brilliantly captured the zeitgeist of the 1980s New York underground scene and catapulted Basquiat on a dizzying meteoric ascent to international stardom that would only be put to a halt by his untimely death in 1988.

Basquiat’s iconoclastic oeuvre revolves around the human figure. Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African-American and Aztec cultural histories and a broad range of art historical sources.

Phillips

Tags Jean-Michel Basquiat

Francis Bacon, Study for Portrait II (After the life mask of William Blake), 1955

15 March 2023 in Art Comment

Francis Bacon, Study for Portrait II (After the life mask of William Blake), 1955

Francis Bacon
Study for Portrait II (After the life mask of William Blake)
1955
Oil on canvas
61 x 51cm

Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

Tags Francis Bacon, William Blake

Jean-Michel Basquiat, Untitled

12 March 2023 in Art Comment

Jean-Michel Basquiat, Untitled

Jean-Michel Basquiat
Untitled
Signed “Jean-Michel Basquiat” on the reverse
Tempera and oilstick on paper
40 x 32 in. (101.6 x 81.3 cm)
Executed in 1982, this work is accompanied by a certificate of authenticity from the Authentication Committee of the Estate of Jean-Michel Basquiat.

Provenance
Tony Shafrazi Gallery, New York
Patricia Faure Gallery, Santa Monica
Private Collection
Christie’s, New York, May 20, 1999, lot 187
Acquired at the above sale by the present owner

Artist Biography
Jean-Michel Basquiat
American, 1960 – 1988

One of the most famous American artists of all time, Jean-Michel Basquiat first gained notoriety as a subversive graffiti-artist and street poet in the late 1970s. Operating under the pseudonym SAMO, he emblazoned the abandoned walls of the city with his unique blend of enigmatic symbols, icons and aphorisms. A voracious autodidact, by 1980, at 22-years of age, Basquiat began to direct his extraordinary talent towards painting and drawing. His powerful works brilliantly captured the zeitgeist of the 1980s New York underground scene and catapulted Basquiat on a dizzying meteoric ascent to international stardom that would only be put to a halt by his untimely death in 1988.

Basquiat’s iconoclastic oeuvre revolves around the human figure. Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African-American and Aztec cultural histories and a broad range of art historical sources.

Phillips

Tags Jean-Michel Basquiat, Phillips

Gerhard Richter, 192 farben

5 March 2023 in Art Comment

Gerhard Richter, 192 farben

Gerhard Richter, 192 farben
Oil on canvas
200 by 150 cm. 78½ by 59 in.
Executed in 1966

Tags Gerhard Richter

Antoni Tàpies, Hommage aux Volontaires Suisses de la Guerre D’espagne, 1986

29 January 2023 in Art Comment

Antoni Tàpies - Hommage aux Volontaires Suisses de la Guerre D’espagne, 1986

Antoni Tàpies
Hommage aux Volontaires Suisses de la Guerre D’espagne, 1986

Tags Antoni Tàpies

Charlie Alston, The Wind Rises

21 January 2023 in Art Comment

Charlie Alston, BOARDING PASS, 2022, acrylic and enamel on canvas, 60 x 60 inches (152.4 x 152.4 cm)

Installation view of Charlie Alston: The Wind Rises

Charlie Alston, GLOBE, 2022, acrylic and enamel on canvas, 80 x 80 inches (203.2 x 203.2 cm)

Charlie Alston, PAN AMERICAN, 2022, acrylic, enamel and crayon on canvas and repurposed screen printing frame, 80 x 81 1/2 inches (203.2 x 207 cm)

Charlie Alston
The Wind Rises
January 21 – February 18, 2023

In Charlie Alston’s studio in Downtown Los Angeles, every available wall and beam has a painting leaning against it. There are so many towering canvases that impromptu rooms have been created in the open studio. Some of the works that are bound together, have only just found their way to each other. With time, their connection has been revealed to themselves. Every canvas is painted independently of one another, but as the paintings evolve, Alston discovers natural conversations between the works. He is open-hearted, always seeking to reach deeper levels of relating with others. For Charlie Alston, life is neither binary, nor homogenous, it’s fractal, integrated, it’s about everything working together, talking and feeling.

Throughout this series he is in conversation with Pop and Abstraction. Pop has been a regular form of discourse in Alston’s paintings as an accessible way to communicate ideas and remove any insecurities viewers might feel when looking at art. Pop, literally meaning “popular,” is a long-storied genre in the United States, where it repurposed and re-contextualized everyday consumer items to engage with popular culture and the broader American audience. Alston engages with a large spectrum of icons from Bird’s Eye, TWA, and Globe to images and ads pulled from LIFE, Ebony Jr. and Jet Magazine. In digging up these icons from the past and repurposing them, he’s able to examine the systems they stand for. Each symbol, each icon, represents a system, a way of being in the world under which groups of people came together and created communities.

In BOARDING PASS, a zoo scene plays out with text from a TWA boarding-pass laid over it. The zoo scene feels so familiar that the name of the cartoon is on the tip of the tongue. But that’s the clever, emotional trick of the work. Because for many viewers, unless you were a regular reader of Ebony Jr. in the 1970s, you likely haven’t read this particular cartoon. In this way, Alston’s references are multivalent, acting as an aesthetic trigger to elicit curious engagement.

In The Wind Rises, two modular-panels sit side by side. To the left, is a sizable abstract painting that blends vibrant tones of blue, yellow, and green, with bold brushstrokes ranging from small and swift to large and expressive, with vigorous splatters. There’s a wit to his lines, a whimsy to his brush. Next to this, sits a slim panel with a replica of an etching of the steamship, the SS Roosevelt – the famous vessel that voyaged in 1908 to discover the North Pole – being battered by windswept waves at sea. While these two panels started out as standalone canvases, they are now circumscribed as a larger entity, like islands in an archipelago. This encounter is an expansion of their individual worlds, an extension of their meaning.

Alston’s abstraction furthers the conversation. He asks you to be uncertain. To listen to the shades. To accept the world as a fundamentally mysterious experience, under and above the forms of intelligibility. He refuses the assumption that you can ever fully understand things, and invites you to walk into the unknown.

In his practice, Alston sees experience as a whole. Employing the styles of Pop and Abstraction in these works, he shows that there’s no hierarchy between the two. What is left is an interdependent relationship. The beaten path and the wilderness as one.
Charlie Alston (b. 1997, San Francisco, CA) received his BFA from the Pennsylvania Academy of the Fine Arts in 2019. Recent solo exhibitions include Block Party, Your Body; a North Star in the West at Deli Gallery in New York, NY. He has been featured in group exhibitions at the Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA; Mana Contemporary, Jersey City, NJ; Twelve Gates Arts Gallery, Philadelphia, PA; and California Institute of the Arts, Valencia, CA. This is the artist’s second solo show with M+B. Alston lives and works in Los Angeles, CA.

M+B Doheny

Tags Charlie Alston, M+B

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