Null MISCELLANEOUS AUTHORS.
New York Renaissance. From the Whitney Museum of Ame…

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MISCELLANEOUS AUTHORS. New York Renaissance. From the Whitney Museum of American Art 2002 Illustrated catalog published on the occasion of the exhibition held at Palazzo Reale, Milan (March 21-September 15, 2002) 34 x 25 cm Elemond spa edition Pages 222 Without defects

676

MISCELLANEOUS AUTHORS. New York Renaissance. From the Whitney Museum of American Art 2002 Illustrated catalog published on the occasion of the exhibition held at Palazzo Reale, Milan (March 21-September 15, 2002) 34 x 25 cm Elemond spa edition Pages 222 Without defects

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Estim. 200 - 300 EUR

Georges DESPRET (1862-1952) Blue and green pâte de verre footed bowl with poly-lobed rims. Signed and numbered "929" under the foot 9.5 x 11 cm Chips on the foot. A bowl similar to ours is in the Corning Museum of Glass, New-York.

Estim. 6 000 - 7 000 EUR

RAY SMITH (United States, 1959). "Model" 1988. Watercolor on paper Signed and dated in the lower margin. Presents label on the back of the gallery Joan Prats, Barcelona. Measurements: 60.5 x 77.5 cm; 75 x 92 cm (frame). Ray Smith developed a fully personal work, rooted in Latin American magical realism (he lived long periods in Mexico) and European surrealism. In the watercolor painting of the eighties, both currents converge in an incisive socio-political criticism of his country of origin, which far from being literal, admits multiple readings. An American painter and sculptor born in Brownsville (Texas) but raised in Mexico, Ray Smith began his training precisely in this country, studying fresco painting with artisans trained in the local tradition. He later continued his studies at academies in Mexico and the United States, finally settling in Mexico City. He was represented by the influential art dealer Gagosian at a young age, and later showed his work with Sperone Westwater and Ramis Barquet in New York. Over the past two decades, Smith has held more than fifty exhibitions around the world, mainly in the United States and Mexico but also in Japan, Europe and South America. In 1989 he participated in the Biennial of the Whitney Museum of American Art in New York, and has also taken part in the First Drawing Triennial of the Joan Miró Foundation in Barcelona and in the group exhibition entitled "Latin American Artists of the Twentieth Century", which toured museums such as the Centre Pompidou in Paris, the Kunsthalle in Cologne and the MOMA in New York. Works by Ray Smith are currently held in outstanding collections such as the MNCARS in Madrid, the Whitney Museum of American Art in New York, the Museo de Arte Contemporáneo de Monterrey and others.

Estim. 30 000 - 35 000 EUR

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.

Estim. 35 000 - 40 000 EUR

JOSEPH MARIONI (Cincinnati, Ohio, 1943). "Yellow painting. 2001. Acrylic on canvas. Signed, titled and dated on the back. Size: 107 x 102 cm. From the seventies onwards, Joseph Marioni began an aesthetic exploration of the limits of painting. In monochrome paintings such as this one, there is a special tension between colour, light and support: Marioni repeatedly applies layers of satin colour on the painting in such a way that, depending on the incidence of light and the viewer's position, they reveal the underlying layers of colour. The painting of the American painter Joseph Marioni falls within the sphere of influence of the New York Radical Painting group, with which he shares above all the research into the parameters of painting. Joseph Marioni's works, created in a characteristic manner since 1970, combine to form a conceptual oeuvre with a resounding aesthetic that allows us to ask fundamental questions about the genre of painting. Marioni has participated in numerous solo and group exhibitions in the United States and Europe. His works are represented in major private and public collections, including the Whitney Museum of American Art in New York, the San Francisco Museum of Art, the Kolumba (Museum) in Cologne, the Kunstmuseum Wolfsburg, the Kunstmuseum Basel and the Kunstmuseum St. Joseph Marioni lives and works in New York. Solo exhibitions (selection): 2006: Peter Blum Chelsea, New York, USA 2007: Liquid Light, Wade Wilson Art, Houston, USA 2007: University Art Gallery, University of Massachusetts, New Bedford, USA 2008: Liquid Light, McNay Art Museum, San Antonio, USA. 2008: Drawing Color - between Black and White, Mark Müller Gallery, Zurich, Switzerland 2009: Beneath the Seen, Wade Wilson Art, Houston, USA 2010: Baronian-Francey, Brussels, Belgium 2011: 90 Years of New: Joseph Marioni, The Phillips Collection, Washington, USA 2012: Painting, Hengesbach Gallery, Berlin, Germany 2013: Marioni/MacPherson, UQ Art Museum, St Lucia, Queensland, Australia

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