Null Konvolut Zeichnungen 'Künstler des Yiddischen Theaters', New York, 1930er J…

Description

Konvolut Zeichnungen 'Künstler des Yiddischen Theaters', New York, 1930er Jahre Technique: drawing, watercolor and mixed media, occasionally glued to paper. Signature: each 'Damicon', 1 x verso information on theater performance of the Federal Theatre Project, in New York, Dimensions: from 10.5 x 8 cm to 24 x 17 cm, Condition: variable, often with creases and compressed edges, Comment: The artist must have been an actor at the Yiddish Theater in New York, a member of the entourage or a frequent visitor to the performances.

431192

Konvolut Zeichnungen 'Künstler des Yiddischen Theaters', New York, 1930er Jahre Technique: drawing, watercolor and mixed media, occasionally glued to paper. Signature: each 'Damicon', 1 x verso information on theater performance of the Federal Theatre Project, in New York, Dimensions: from 10.5 x 8 cm to 24 x 17 cm, Condition: variable, often with creases and compressed edges, Comment: The artist must have been an actor at the Yiddish Theater in New York, a member of the entourage or a frequent visitor to the performances.

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KEITH HARING (Pennsylvania, 1958- New York, 1990) for New York City Skateboards, Inc. Silkscreen on wood, 1986. Skateboard. Original Pop Shop. Very exclusive specimen. It presents marks of use. Measurements: 76 x 26 cm. This is an original piece authorized by Keith Haring in 1986, not a later reproduction, as attested by the New York City Skateboards, Inc. logo. The Pop Shop opened its doors in 1986 at 292 Lafayette Street in the Soho neighborhood of Manhattan, New York. Haring saw the Pop Shop as an extension of his work, a fun boutique where his art could be available to everyone. The store sold T-shirts and novelty items with images of Keith and some of his contemporaries, such as Kenny Scharf and Jean Michel Basquiat. Later, in 1987, Haring opened a Pop Shop in Tokyo. Haring painted the interior walls of both stores, creating an immersive experience in his aesthetic. The Tokyo Pop Shop closed in 1988 and the New York Pop Shop closed in September 2005. In 2006, the exhibition Keith Haring: Art and Commerce examined the context and history of the Pop Shop, and in 2009, as part of the group exhibition Pop Life, the Tate Modern reconstructed aspects of the New York Pop Shop to recreate the feel of the original. The original Pop Shop ceiling was donated to the New-York Historical Society and is installed at its entrance. Considered the figurehead of 1980s street art, Haring's unstoppable professional career, which led him to become a Warhol colleague and media superstar, began with his work in the New York subway. The enormous popularity of Haring's urban work among the people of New York immediately caught the attention of the art establishment. Consequently, Andy Warhol adopted him into his circle, and the then emerging gallerist Tony Shafrazi organized a resounding solo exhibition for him in 1982 that was to be the launching pad for his unstoppable success. He soon exhibited his work at the gallery of the influential Leo Castelli and established himself as a professional art star. Keith Haring was an American artist whose pop art and graffiti emerged from the street culture of New York City in the 1980s. Haring's work grew in popularity thanks to his spontaneous drawings on the New York City subway in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals.His later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is divided between major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New Yorkand the second-floor men's room at Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and is known as the Keith Haring Room. In January 2019, an exhibit called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus. It presents marks of use.

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SOL LEWITT (Connecticut, 1928 - New York, 2007). "Not straight lines", 2003. Set of 6 etchings, issue 19/20. Hand signed and numbered by the artist. Measurements: 25 x 25 cm (u.c.); 41 x 41 cm (frames). In the "Not Straight Lines" series, LeWitt develops parallel irregular lines that play with the ambiguity between improvisation and meticulous study of patterns. Using minimalist techniques, LeWitt creates compositions that may appear simple at first glance, but reveal a complexity in the interplay of forms and spaces. LeWitt dedicated his entire oeuvre to delving conceptually and graphically into the exploration of patterns and systems through geometry and repetition. The broken lines convey a sense of fluidity and energy that we visually associate with the pulse of the hand and the emotions involved in creation. These lines thus become a kind of seismograph, a device metaphorically associated with creative intuition. An artist linked to several movements, among them conceptual art and minimal, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

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