Josef M. Arentz Art

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included Signed and numbered 74//75 in graphite pencil on the front A delightful and clever work. The text reads: I Rather Like You A Lot You Fool Not much Hair Crooked Nose You are not very rich You’re not terribly intelligent You smoke too much pot You are lazy A bit crazy But I like the way you touch me I like the way you look at trees and flowers I like the way you look at me You found the key to my heart This work is elegantly floated and framed in a museum quality white wood frame with UV plexiglass Dimensions: Framed 23.5 vertical by 28.5 by 1.5 inches Artwork: 19.5 by 25.5 inches "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles... Her Nanas, bold, sexy sculptures...

Yvonne Jacquette EAST 15th Street (Faberman 8), 1974 Lithograph in five colors on Arches Cover paper Hand signed by the artist on lower right front This is a rare pencil signed proof, aside from the regular edition of 125. Printed by Paul Narkiewicz and Chip Elwell; published by Brooke Alexander, Inc. (to benefit the Horace Mann School in NYC) 17 3/8 × 21 1/8 inches Unframed Other examples of this exquisite work are in major museums and collections such as the Whitney Museum of American Art. Literature: Aerial Muse: The Art of Yvonne Jacquette by Hilarie Faberman (2002-01-29), 8. Yvonne Jacquette Biography: Yvonne Jacquette (1934 - 2023) was born on December 15, 1934 in Pittsburgh, Pennsylvania and grew up in Stamford, Connecticut. She attended the Rhode Island School of Design, Providence from 1952 to 1955, when she moved to New York City. She continued to live and work in New York City, as well as in Searsmont, Maine. A flight to San Diego in 1969 sparked Jacquette’s interest in aerial views, after which she began flying in commercial airliners to study cloud formations and weather patterns. She soon started sketching and painting the landscape as seen from above, beginning a process that has developed into a defining element of her art. Her first nocturnal painting with an aerial perspective, East River View At Night (1978), inspired a lasting exploration of the effects of bright lights, reflections, and indistinct objects set against surrounding darkness. The city of New York was a special focus of Jacquette’s. In the 1980s and 1990s, she chartered planes from Teterborough Airport in New Jersey to circle the city while she sketched the scene below. She also worked from the Empire State Building, and, from 1974 through early 2001, often used empty offices or an enclosed deck at the World Trade Center. Jacquette painted aerial landscapes across the country, as well as city views in San Francisco, Chicago, Minneapolis, Philadelphia, Vancouver, Tokyo, and New Orleans. After a trip to Hong Kong in 1990, she began incorporating composite viewpoints into her work, realizing that she could better express the city’s many layers of complexity by creating new spatial configurations through multiple perspectives. Since then, she continued to base her paintings on pastels made from direct observation, while frequently enlivening compositions through heightened color, repetition of certain elements, and manipulation of light, scale, and perspective. As she approached the rendering of space with greater freedom, her paintings became both more inventive and disjunctive, combining aspects of observation, memory, and imagination.  Jacquette participated in her first group show in New York City in 1962 and has been exhibiting steadily since. In 1965 she had a one-person exhibition at Swarthmore College, PA. In 1983, the St. Louis Art Museum organized her first major museum exhibition. A comprehensive retrospective, Aerial Muse: The Art of Yvonne Jacquette, originated at the Cantor Center for Visual Arts, Stanford University, CA in 2002 and traveled to Colby College Museum of Art, Waterville, ME; Utah Museum of Fine Arts, Salt Lake City; and the Hudson River Museum, Yonkers, NY. In 2008, the Museum of the City of New York organized Under New York Skies: Nocturnes by Yvonne Jacquette, which was shown concurrently with Street Dance, an exhibition of photography by her late husband, Rudy Burckhardt...

This drawing is a study for the portfolio box from the Jim Dine Oo La La portfolio of 15 lithographs printed offset from zinc plates. The portfolio was produced in collaboration with Ron Padgett and published by Petersburg Press, London. An image of the portfolio cover can be found in the listing photos. The late 1960s and early 70s saw Dine’s interest in literary pursuits grow: he illustrated and published a book of his own poetry entitled Welcome Home Lovebirds (Trigram Press, 1969), and he provided drawings and photographs for the publications of Padgett and other New York School poets: Ron Padgett’s translation of Apollinaire’s "Le Poète Assassiné” (Holt, Rinehart, and Winston, 1968), Ron Padgett and Tom Clark’s Bun (Angel Hair, 1968), and Fragment, by Ted Berrigan (Cape Goliard Press, London 1969). Cape Golliard also published a stylish monograph in 1970 reproducing photographs and drawings titled "The Adventures of Mr and Mrs Jim and Ron". In 1966, police raided a Jim Dine exhibition in London at the Robert Fraser Gallery. Fraser was charged under the Obscene Publications act and Dine was found to be indecent. After a meteoric rise to artistic prominence in New York, Dine had tired of the city’s intense art scene, and this incident was the final straw. He moved with his family to London in 1967 and began producing work at Petersburg Press, where he would become a longtime collaborator. As a student, Dine had cited the great American poets, Ron Padgett, Robert Creeley and Ted Berrigan, of the New York School as early inspirations, and in London, he eagerly took the opportunity to work with Padgett at Petersburg Press. Jim Dine, Study of Pigs for the Oo La La portfolio box 1970 Unique unsigned drawing...

Christo The Gates, Historic New York City Subway Banner Poster (hand signed by Christo), 2005 Offset lithograph poster (uniquely hand signed on the front by Christo) Hand signed by C...

David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed by the artist on the lower right front Elegant hand mad...

R. B. Kitaj Femme de Peuple II (hand signed and inscribed to poet Robert Duncan), 1978 Offset Lithograph (hand signed and inscribed to poet Robert Duncan) Hand signed and inscribed o...

Walasse Ting 丁雄泉 Green Cat, 1984 Color etching and aquatint on copper plate, printed on Fabriano Rosaspina paper Pencil signed, numbered 178/230, dated 1984 along with artist's perso...

ROBERT INDIANA Santa Fe Opera (Hand signed, numbered), 1976 Silkscreen on wove paper 37 1/2 × 27 inches Edition AP 7/50 Hand Signed and dated lower rig...

MEL BOCHNER Kick Against the Pricks (Blah..Blah...Blah...), 2018 Two color silkscreen on boutique silk fair paper with blue-colored back, 350 gsm paper Signed, dated, and numbered lower left from the limited edition of 30 in graphite by Mel Bochner Frame included: elegantly framed in a museum quality white wood frame with UV plexiglass is included Measurements: Framed: 12.5 inches x 30 inches x .5 inch Artwork: 10.5 inches x 28 inches Published by Two Palms Press Bibliography Catalogue Raisonné of Editioned Prints Krakow Witkin...

Kenny Scharf Thou Shalt Have No Other Gods Before Me (The First Commandment), 1987 5-Color lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Hand signed, date...

Ed Ruscha and Kenny Scharf Fun Vacation (200, Engberg), 1990 Lithograph in five colors on white Rives BFK paper (hand signed by BOTH Ed Ruscha and Kenny Scharf) 36 × 27 inches Hand-s...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...