Russell Young: Elvis Presley, Johnny Cash, Sid Vicious & Marilyn
Russell Young, Elvis Presley, 2007
Serigraph / Screenprint, Acrylic and Enamel Screenprint on canvas - 62 x 48 in. - Estimate: from $20,000 to $25,000
Notes: Stretched canvas of the mugshot picture of Elvis from Washington, DC in 1970.
Artist Statement on this series:
"Pig Portraits is about the glamour in the dark side of crime, fame, sex, drugs and rock and roll.
After spending fifteen years as a celebrity photographer and music video director, I was able to see how, and at what points that world and the underworld rub up against each other. So the idea of combining celebrities and criminals came very naturally. Because I'd been engaged in creating and glamorizing a person's image, finding portraits of these people in their worst possible moments, drunk, high, beaten, stripped bare, was very attractive to me.
My method of working is to search, destroy and create. The images of this series have been collected from newspaper cuttings, e-bay, long correspondence with police departments throughout the world or even given by celebrities themselves.
The idea to create "anti-celebrity" portraits was probably a reaction to my former career. However, they turned out to be even more beautiful and iconic. There is undeniably this attitude that is very real, in your face, a beauty that is hard to ignore. My art is a sort of soundtrack to my life, loves, experiences and influences. These would be my heroes that are missing from Art History." New York 2002
Russell Young, Johnny Cash, 2004
Serigraph / Screenprint, Acrylic and Enamel Screenprint on canvas - 62 x 48 in. - Estimate: from $20,000 to $25,000
Note: This is a RARE BAT unstretched canvas of the mugshot picture of Johnny Cash, who was arrested in October 1965 at the El Paso International Airport after U.S. Customs agents found hundreds of pep pills and tranquilizers in his luggage as he returned from a trip to Juarez, Mexico. After a night in the county jail and later pleaded guilty to a misdemeanor count, for which he paid a $1000 fine and received a 30-day suspended sentence.
Russell Young, Sid Vicious, 2006
Silkscreen in colors on Arches Paper - 44.1 x 35 in. (112 x 89 cm) - Estimate: from $6,000 to $8,000
Russell Young, Marilyn (pink), 2007
Silkscreen in colors on Arches Paper - 44.1 x 35 in. (112 x 89 cm) - Estimate: from $6,000 to $8,000
Note: Young depicts Marilyn Monroe performing as part of the USO for the US Troops in Korea, 1954.
Russell Young, Johnny Cash, 2006
Silkscreen in colors on Arches Paper - 44.1 x 35 in. (112 x 89 cm) - Estimate: from $6,000 to $8,000
Russell Young (British, b. 1960) has risen to become one of the most collected and sought after artists of our time. Celebrities and collectors from the most discriminating to novice have added Russell’s works to their collections. His larger than life screenprint images from history and popular culture are compelling, daunting, and sexy.
Artnet Auctions. Thursday, January 21, 2010, 4:00 PM EST. www.artnet.com
Davide Coltro, 'Systems' @ Mark Wolfe Contemporary opening March 25, 2010
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro's Systems are composed of a motherboard, wireless modem, industrial-grade LCD screen, and an aluminum frame. Over the course of the next two months, Coltro will travel across the United States creating new images for his Systems, transmitting them to the screens in the gallery as he goes.
Each System consists of a motherboard, wireless modem, aluminum frame, and a 19” industrial-grade LCD screen.
Over the last several years, the artist’s mission has been to utilize 21st century technology to reinterpret the classical Italian landscape painting. According to Coltro, a System is a digital work of visual art that uses “[technology] to create a link between artist and viewer.” The electronic frame is connected at all times to Coltro’s digital studio via the GSM mobile telephony network.
At the time of purchase, the client will select 16 "Medium Color Landscapes," digital images from the artist’s database, and set the length of time each image is displayed on the screen before transitioning to the next -- anywhere from 5 minutes to 24 hours. The artist suggests a display time of 30 minutes to best appreciate the poetry of each image.
When displayed at the gallery, each image rotates every four minutes for demonstration purposes.
The 16 Medium Color Landscapes can be uploaded to the System at the time of purchase, or be received by the client via transmission from the artist’s studio every 25 days for the course of a year. Once received, the Landscapes are stored in the System and will rotate in a random order, at the frequency previously selected by the client.
The client may at any time choose new images from the artist’s portfolio to be transmitted to the System.
The System requires only a standard electrical outlet; no other technological equipment is needed. The screens are weatherproof and can run 24/7, 365 days a year, with a 2 year structural warranty from the artist
Systems are offered in 75 x 90 cm or 35 x 45 cm editions.
Opening March 25, 2010. Mark Wolfe Contemporary Art. 49 Geary Street, Suite 202, San Francisco, CA 94108. Tel: 415.369.9404 | Fax: 415.369.9405 - Email: contact[at]wolfecontemporary.com
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Davide Coltro (Italian, b. 1967) Systems, 2007. Electronic frame with images via wireless transmission, 70 x 90 cm (27.5 x 35.5 inches). courtesy Mark Wolfe Contemporary Art
Installation View
A Chinese porcelain blue and white baluster vase. Kangxi 1662-1722.
A Chinese porcelain blue and white baluster vase. Kangxi 1662-1722.
with flaring ribbed neck, painted with palace scenes of the Emperor and lady musicians in front of a canopied screen, all amongst clouds and rockwork with fencing, the reverse with three different trees all beneath a ribbed neck with bands of keyfret scrolls and studs. The underside with a six-character mark of Chenghua within a double ring. 18 1/4 inches, 46.4 cm high.
Provenance: Formerly in a Dutch private collection.
Note: Two similar vases in the Palace Museum, Beijing are illustrated in Blue and White Porcelain with Underglazed Red (III), The Complete Collection of Treasures of the Palace Museum, Beijing, 2000, vol.36, no.21/2, p.26/7 and are also illustrated by Chen Ren Min in The Gu Gong Museum Collection of Qing Dynasty Porcelain, Underglaze Blue of the Shunzhi and Kangxi Periods, 2005, no.286 and 288, p.441 and 445.
MARCHANT 120 Kensington Church Street London, United Kingdom W8 4BH - Tel: 44 0207-229-5319 - Fax: 44 0207-792-8979
A Chinese porcelain blue and white bottle vase, four character mark of Chenghua. Kangxi 1662-1722.
A Chinese porcelain blue and white bottle vase, four character mark of Chenghua. Kangxi 1662-1722.
with slender cylindrical neck and gently flaring rim, painted with the moon goddess Chang Er and nine of her attendants, some with scroll, wrapped qin, peach, white hare, osmanthus sprig and fan respectively, all in a continuous scene with screen, wuti and cloud scrolls beneath the lotus topped roof and the moon. 13 3/4 inches, 34.9cm high. Price on application.
Provenance: Formerly in the collection of Mr. and Mrs. Robert B. Mayer, Winnetka, Illinois. Robert B. Mayer (d.1974) was a founder and board member of the Chicago Museum of Contemporary Art and together with his wife Beatrice was also active at the Art Institute of Chicago. They were described as one of the largest private art collectors in the United States, their collection included Old Masters, Impressionist, Abstract Expressionist, Pop Art and Chinese Art, primarily from the Han and Tang dynasties, amounting to some 3000 objects and paintings. Beatrice Mayer was the daughter of Nathan Cummins (1896-1985), whose business empire, Sara Lee Corp, employs over 100,000 people with annual sales in excess of US$ 15 billion.
Formerly in the collection of the Robert B. Mayer family, Chicago, Illinois.
Sold by J.T. Tai & Co. Inc., New York.
Exhibited: The Montreal Museum of Art, 1976-1981.
The Minneapolis Institute of Arts, 1981-2005.
Note: The subject of Chang Er, the moon goddess, is usually identified with the appearance of a white hare who pummels the elixir of life with a pestle and mortar. Chang Er bestows the osmanthus sprig to a scholar as a reward for having passed his Imperial Metropolitan examinations and has earned the jinshi degree.
MARCHANT 120 Kensington Church Street London, United Kingdom W8 4BH - Tel: 44 0207-229-5319 - Fax: 44 0207-792-8979
Kiichi Asano, two silver prints, 1953.
Kiichi Asano, Untitled, 1953
Silver Print. Image size: 12.5 x 17.5 in. (31.8 x 44.5 cm) Paper Size: 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated and editioned with artist and estate stamps in Japanese ink on verso - Estimate: from $2,500 to $3,500
Kiichi Asano, A rainy Commencement Ceremony day, January 1953’ (ladies in kimonos with parasols), 1953
Silver Print, 16 x 20 in. (40.6 x 50.8 cm) Signed, titled, dated and editioned with artist and estate stamps in Japanese ink on verso - Estimate: from $2,500 to $3,500
Note: Japanese photographer, Asano Kiichi, (1914 - 1993) found inspiration in the streets and traditions of Kyoto, creating works that reflect a city in transition and transformation. Working during a time periods when Kyoto was morphing into a modern city, Kiichi documented a disappearing culture and history. Other important subjects for Kiichi were Geishas, which he primarily documented in the 1950’s, and rural Japanese life. Kiichi received numerous awards and was a member of the Japan Professional Photographer’s Society.
Collections: Tokyo Metropolitan Museum of Photography
San Francisco Museum of Modern Art
Artnet Auctions. Wednesday, January 13, 2010, 1:00 PM EST. www.artnet.com
Tetsuya Noguchi, Chanel Samurai Armor
"In a salute to luxury brand Chanel, artist Tetsuya Noguchi has created some concept samurai armor suits designed to appeal to the fashion-conscious warrior. Made from resin, cashew lacquer, cloth and glass, the exquisitely crafted protective suits sport the iconic double-C logo, allowing the wearer to flaunt his superior social status while crushing the enemy on the battlefield". (pinktentacle)
Salvador Dalí, Rhinocéros Cosmique & Rhinocéros à la dentellière @ Massol
Salvador Dalí, Rhinocéros Cosmique
Epreuve en Bronze à paitne verte. Multiple signé et numéroté 44/99 Haut. : 97 cm - Estimation : 15 000 - 20 000 €
Salvador Dalí, Rhinocéros à la dentellière
Epreuve en bronze à patine verte, multiple signée et numérotée 200/350 Haut. : 27 cm - Estimation : 4 000 - 5 000 €
Salvador Dalí, Rhinocéros Cosmique
Epreuve en bronze à patine verte, multiple signée et numérotée 224/350 Haut. : 35 cm - Estimation : 2 000 - 2 500 €
Salvador Dalí, Rhinocéros à la dentellière
Epreuve en bronze à patine verte, multiple signée et numérotée 200/350 Haut. : 12 cm - Estimation : 900 - 1 000 €
Massol. Tableaux et sculptures après Guerre et Contemporains. Mercredi 20 janvier à 14h00. Drouot Richelieu - Salle 3. EMail : massol.sa@orange.fr - Tél. : 01 42 65 08 01
Je vous renvoie à mon post "Les Rhinocéros de Salvador Dali" http://elogedelart.canalblog.com/archives/2009/08/05/14651898.html
"Cornucopia: Ceramics from Southern Japan" @the Smithsonian's Freer Gallery of Art
'Dish, Arita ware', Kutani style, Edo period, Japan, 1645-1650. Porcelain with cobalt pigment under colorless, glaze, enamels over glaze, 11.5 x 45.7 x 45.7 cm. Photo: Freer Gallery of Art.
WASHINGTON, DC.- The exhibition "Cornucopia: Ceramics from Southern Japan" includes more than 100 porcelain and stoneware vessels that vividly represent an era of highly diverse and accomplished ceramic production in southern Japan. A wide array of ceramic forms, including tea caddies, tea bowls, vases, rice bowls and incense burners, is on display in the Smithsonian's Freer Gallery of Art through Jan. 9, 2011.
The exhibition spans from the late 16th to the late 19th century, an era that marks the most diverse production of ceramics in Japanese history, encompassing hundreds of kilns that produced vessels for the Japanese market and for export to Europe and Southeast Asia. The cornucopia of Kyushu ceramics overflowed into markets throughout Japan and around the world.
A heightened level of fascination with the design and use of ceramics coincided with new access to advanced technology around the year 1600 on the southern island of Kyushu in Japan and launched the era of flourishing production. Following Japanese military campaigns on the Korean peninsula, Korean potters with skills for making glazed ceramics were resettled in southern Japan. Their kilns produced stoneware coated in muted glazes and porcelain ornamented with cobalt blue and multicolored enamels.
This sudden efflorescence of ceramic production introduced a far wider variety of options for Japanese connoisseurs of chanoyu, the tea ceremony. No longer limited to imports from China, Korea and Southeast Asia, they could specify their stylistic tastes to potters at regional kilns. Urban merchants played key roles in communicating the orders and marketing the new varieties of ceramics.
Only stoneware was made during the earliest phase of ceramic production on Kyushu, from the 1590s to around 1615. Many of the kilns created wares with a strong Korean flavor. Signature styles used a white glaze made with rice-straw ash and employed Korean-inspired decorations. Many kilns made both utilitarian ware and tea ware. Tea was not simply an aesthetic pursuit but played a pivotal role for regional rulers to socialize strategically with officials of the newly established Tokugawa government. Ceramics from the new kilns played a key role in the obligatory gift exchanges between regional rulers and the central government.
The discovery of raw materials necessary for making porcelain near the town of Arita in the 1610s dramatically transformed ceramic production in Kyushu. At new porcelain-making workshops potters introduced Chinese-inspired techniques, such as decorating with cobalt-blue pigment and bright enamels. Toward the end of the era, in the mid-19th century, the Satsuma kilns introduced light-bodied wares decorated with gold and pastel enamels, opening another chapter for Kyushu ceramics through their success at international expositions in Europe and the United States.
"Cornucopia: Ceramics from Southern Japan," fills three galleries of the Freer with Japanese ceramics, and all the works were the focus of a recent review by Japanese scholar and Kyushu ceramics specialist Ohashi Koji, as part of a 10-year project to review the dating of ceramics in the museum's Japanese and Korean collections. This exhibition will introduce the objects to the public for the first time with their recently revised attributions and dating. Potters, collectors and the public will delight in the variety of objects in this exhibition: ornately to modestly decorated stoneware, sake bottles, jars for pickled plums and boat-shaped dishes are just a few examples of the variety in "Cornucopia: Ceramics from Southern Japan."
Dish, Karatsu ware, Takeo kilns, Edo period, Japan, 1620-1650. Stoneware with iron pigment and white slip painted and inlaid under clear glaze, 10 x 40.5 x 40.5 cm. Photo: Freer Gallery of Art.
