Kenny Scharf

Check Fest print by Kenny Scarf, 1999 (blue and yellow pop surrealism)

1999

This edition was printed in approximately 40 colors on Lanaquarelle paper with a deckled edge. The print is signed, numbered and dated, 2011 by the artist. The print comes directly f...

This print has a deep blue background and brightly colored red and orange billiards balls. John Gibson has been painting delicate still-life arrangements of balls since the 1990s. T...

This archival pigment print on Canson paper comes directly from the publisher, Lincoln Center Editions. It is signed and numbered en verso by the artist. It is in excellent condition and has never been framed. Note: The image of the framed print is for reference purposes only. Carrie Mae Weems (b. 1953) is an American artist whose extensive body of work investigates cultural identity, sexism, class, political systems, and the consequences of power. Weems is widely recognized for her revolutionary approach to the expression of narratives about women, people of color and working-class communities, “conjuring lush art...

This signed and numbered limited edition print was commissioned by Lincoln Center for the Performing Arts in 2012. This impression has never been framed and is in excellent condition. Note: Framed image is for reference purposes only. Artist's Statement: "When I was asked to make a print to benefit Lincoln Center I was both honored and intimidated. I was reminded of my moving to New York City in 1997. My student loans had yet to kick in and I was so broke that I really couldn’t afford much of a night on the town. So instead, as an alternative, I’d meet friends outside of Lincoln Center. There we’d spend a few hours socializing and drinking alongside the lights, on marble steps and by the fountain. I always remember that time. "When I begin to make a work of art I begin with the concept. I play word games and I try to loosen up my associations and assumptions. I make visual and verbal connections. Sometimes these are very personal and frustratingly obscure and sometimes more public. In this case I got stuck on cheese. Why cheese? I remember noticing when I moved to New York that people in New York (at least in the art world) loved cheese. Whatever the event or occasion there it was. And someone was always explaining what he or she liked about this or that particular cheese. I’m a natural mimic and so I paid attention, it comes from moving around a lot. From being the 'new kid.' So I kept mental notes on what was 'good' and more importantly what was 'bad.' You can tell a lot about a person by their opinions on cheese. (The truth is I’m not a huge fan of cheese. I believe I have a lactose intolerance.) So all this is to say in my mind it’s forever linked with connoisseurship and culture. I know these days things have changed. But much of my art concerns itself with outdated notions of 'fancy.' The status symbols of the past I knew when it felt like it mattered. I’m aware that my insecurities are what drove me forward. But that’s one way to learn. You could say the print is of artisanal cheeses—aspirational cheeses. "And then there’s the fun part—adding the text. Which is like my last word on the my artwork; the punch line—the commentary—the poetry. I had a number of ideas but I went with this one—Immature, Artist. Because artists take time. And some of us need reminding." -Matthew Brannon, December 1, 2012 Permanent Collections: Museum of Modern Art, New York, NY, Whitney Museum of American Art, New York, NY, Rennie Collection, Vancouver, Canada, Ringler Collection, Zurich, Switzerland, Rubell Family Collection, Miami, FL, MADRE Museum, Naples, Italy, The Hammer Museum, Los Angeles, CA The Museum of Modern Art, New York, NY, The Alfond Collection of Contemporary Arts, Cornell Fine Arts Museum, Rollins College...

This is a black and white archival inkjet print on Canson Infinity paper. Hand signed and numbered by the artist, John Baldessari. To commemorate the 40th anniversary of Lincoln Cent...

One photograph on rag paper, 2006, signed in pencil, dated 2005, from the edition of 54, sheet: 704 by 856 mm, 27 3/4 by 33 5/8 inches. Printed by Chad Kleitsch, New York, published ...

Yes You Can Can (Splats Edition) by Amy Gardner [2020] limited_edition Screen Print, Watercolour Edition number 40 Image size: H:50 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Only AP works left in this edition. This print is about women supporting women. 'YES YOU CAN CAN' splats edition limited edition of 40 Archival Bread & Butter bright white paper 270gsm 50x 50cms 5 screen...

Artist: George Rodrigue Title: Pick of the Litter (Black) Medium: Silkscreen Year: 1996 Edition: 6/75 Framed Size: 36" x 42" Sheet Size: 21" x 27" Signed: Hand signed and numbered in...

Robert Indianna (American, 1928-2018) 4 Americans in Paris, 1970 Screenprint Framed: 46 1/4 x 23 x 3/4 in. Signed in the plate: (c) R Indiana 1970 Published by American Image, distr...

Large silkscreen printed in over 20 colors, signed and numbered out of 225 in pencil by Rodney Greenblat. Blindstamped by Martin Lawrence Galleries. ...

Jonas Wood VOTE, 2018 6-color screenprint on Coventry rag paper Hand signed, dated and numbered from the limited edition of 300 by Jonas Wood on the front 20 3/10 × 14 3/5 inches Unf...

This artwork titled "Wrapped Statues, Aegina Temple, Project for the Munich Glyptotek" from the "Official Arts Portfolio of the XXIV Olympic" 1988, is an original screen print with c...