Null [Women Artists] [Ephemera] Kruger, Holzer, Sherman, Benglis, Ess, Simmons T…

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[Women Artists] [Ephemera] Kruger, Holzer, Sherman, Benglis, Ess, Simmons Ten exhibition announcement cards, 1980s/1990s. Comprises: (1) Barbara Kruger, Kunsthalle Basel 1984. (2) Jenny Holzer: Kunsthalle Basel 1984 (with pinhole); Interim Art London 1988; Ydessa Hendeles Art Foundation Toronto 1992. (3) Cindy Sherman: Monika Spruth galerie Cologne 1990; Haus der Kunst Munich 1991; Galerie Ghislaine Hussenot Paris 1993. Recto features Untitled #276, a self-portrait made the same year. (4) Lynda Benglis, Indian Wood Block Series. Albert Baronian Brussels 1981. (5) Barbara Ess, Galerij Micheline Szwajcer Antwerp 1988. (6) Laurie Simmons, Jablonka Galerie Cologne 1989. (total 10)

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[Women Artists] [Ephemera] Kruger, Holzer, Sherman, Benglis, Ess, Simmons Ten exhibition announcement cards, 1980s/1990s. Comprises: (1) Barbara Kruger, Kunsthalle Basel 1984. (2) Jenny Holzer: Kunsthalle Basel 1984 (with pinhole); Interim Art London 1988; Ydessa Hendeles Art Foundation Toronto 1992. (3) Cindy Sherman: Monika Spruth galerie Cologne 1990; Haus der Kunst Munich 1991; Galerie Ghislaine Hussenot Paris 1993. Recto features Untitled #276, a self-portrait made the same year. (4) Lynda Benglis, Indian Wood Block Series. Albert Baronian Brussels 1981. (5) Barbara Ess, Galerij Micheline Szwajcer Antwerp 1988. (6) Laurie Simmons, Jablonka Galerie Cologne 1989. (total 10)

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Jonas, Martin 1924 Kovacica - 1996 ibid. Serbian artist. Oil on canvas. Interior of a parlor with a flute player. In the background women, men and children listening through the window. Signed u. r. and dated 1977. Artist's stamp with signature verso. 70 x 68 cm. (77 x 76 cm). R. Lit.: 1.

Estim. 4 000 - 5 000 EUR

LAURIE SIMMONS (Long Island, New York, 1949). "Plaid living room". The instant decorator Series, 2004. Flex print. Edition 3/5. Work reproduced on the artist's website. Presents certificate of authenticity, exhibition labels and signature on the back. Provenance: Distrito Cuatro Gallery (Madrid). Measurements: 76,2 x 96,5 cm; 84,1 x 104,1 cm (frame). "Plaid living Room" (2004) belongs to the Instant Decorator series, which was initiated by Simmons in 2001, with the intention of materializing his research around a book on interior decoration published in 1976. This publication had different templates of domestic interiors, which allowed the reader to decorate rooms with fabric swatches and different paintings. By rescuing this "Do it by yourself" idea, the author constructed an image that echoes the aesthetics of collage, where different independent elements coexist, forming a set of great visual expressiveness. Through a domestic interior in which an elegantly dressed woman lies on the carpet, the author poses to the viewer an uncertainty about who this character is, and what she represents. The protagonist is surrounded by luxuries, and looks at the viewer suggestively, but she is alone, and her pose and dress invite her to be represented as just another piece of furniture, as an object of consumption. This representation of the woman, reflecting on her role in the social environment, was one of the first themes explored by Laurie Simmons in her works. In which she related the space of the home with the feminine, like other artists such as Martha Rosler, or Barbara Kruger, who used similar themes and techniques to the one presented here. Laurie Simmons grew up in Long Island, in an era of economic expansion that marked the beginning of material prosperity, but also gave rise to a state of conformity, characteristics that are very recurrent in the themes explored by the artist. Her career stands out for its versatility, as she works as an artist, photographer and filmmaker. After graduating from Tyler School of Art in the late 1960s and settling in New York City, Simmons began to develop her artistic side. In 1972, Simmons discovered a vintage dollhouse in the attic of a toy store in Liberty, New York, so she began making compositions with dolls, which she subsequently photographed and intervened. Most of his works make a statement about traditional gender roles, questioning them and criticizing the objectification of the person, especially women. Simmons is part of the important artistic group, The Pictures Generation, a name given to a group of artists who rose to fame in the 1970s, and which includes world-renowned artists such as Cindy Sherman, Barbara Kruger and Louise Lawler. Much of Simmons' work, like that of the aforementioned artists, is rooted in the role of women and their integration with their environment and society. In a March 2014 interview, Simmons stated, "When I picked up a camera with a group of other women, I'm not going to say it was a radical act, but we were certainly doing it in a kind of defiance or reaction to, a male-dominated world of painting." Today her work is in important collections both private and public, examples include the Queen Sofia Art Center, the Art Institute of Chicago, MoMA in New York, the National Gallery of Art in Washington, D.C., and the Los Angeles County Museum of Art, among others. Work reproduced on the artist's website. Presents certificate of authenticity, exhibition labels and signature on the back. Provenance: Distrito Cuatro Gallery (Madrid). Gallery Distrito Cuatro (Madrid).

Estim. 240 - 280 EUR

'Man in white kimono' - antique Japanese painting, gouache and watercolor on paper, in the style of Shun Uemura's work, signed, Dimensions: 41X33 cm Frame dimensions: 45x35 cm. )* Japanese art - Uemura Shoen artist Uemura Shoen (1875–1949) was a pseudonym for an artist in the Japanese painting of Meiji, Taisho and the beginning of the Showa period. Her real name was Uemura Tsune. Shuan was best known for the genre she developed in Japanese art called her 'bijin-ga' which was mainly paintings of beautiful women, in the nihonga style, although she produced many works on historical and traditional themes. Shuan is considered a major innovator of the bijin-ga genre despite the fact that she still often used it to describe traditional beauty standards for women. Bijin-ga was criticized during the Taisho period for not reflecting the more modern status of women in Japan and preferring to paint women in a traditional style. During the birth of the bijin-ga genre in the Tokugawa, or Edo, period, women were considered lower-class citizens and the genre often reflected this projection on its female subjects. During the Taisho period, women took several steps to advance their status in the Japanese workforce, and specifically female art became more popular than the passing of elite leisure, paving the way for Shuan's success. Shuan received many awards and forms of recognition during her life in Japan, being the first recipient of the Order of Culture Award, and was also hired as the official artist of the Imperial Household, which previously employed only one other official woman in the position. In 1949, she died of cancer just one year after receiving the Order of Culture Award of Japan - from the agospedia) Period: 20th century

Estim. 180 - 220 EUR

'Geisha in black kimono' - antique Japanese painting, gouache and watercolor on paper, in the style of Shun Uemura's work, signed, Dimensions: 59X19 cm Frame dimensions: 61.5X22 cm. )* Japanese art - Uemura Shoen artist Uemura Shoen (1875–1949) was a pseudonym for an artist in the Japanese painting of Meiji, Taisho and the beginning of the Showa period. Her real name was Uemura Tsune. Shuan was best known for the genre she developed in Japanese art called her 'bijin-ga' which was mainly paintings of beautiful women, in the nihonga style, although she produced many works on historical and traditional themes. Shuan is considered a major innovator of the bijin-ga genre despite the fact that she still often used it to describe traditional beauty standards for women. Bijin-ga was criticized during the Taisho period for not reflecting the more modern status of women in Japan and preferring to paint women in a traditional style. During the birth of the bijin-ga genre in the Tokugawa, or Edo, period, women were considered lower-class citizens and the genre often reflected this projection on its female subjects. During the Taisho period, women took several steps to advance their status in the Japanese workforce, and specifically female art became more popular than the passing of elite leisure, paving the way for Shuan's success. Shuan received many awards and forms of recognition during her life in Japan, being the first recipient of the Order of Culture Award, and was also hired as the official artist of the Imperial Household, which previously employed only one other official woman in the position. In 1949, she died of cancer just one year after receiving the Order of Culture Award of Japan - from the agospedia) Period: 20th century

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