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Billy Al BengstonCockatoo AAA Dracula, Mixed media & lithograph, hand signed, 20/20, artist label1968
1968
About the Item
Billy Al Bengston
Cockatoo AAA Dracula, 1968
Lithograph , Zinc and Aluminum, in Silver-Violet, Yellow, Two Grays and Orange on uncalendered Rives paper
Frame included
signed faintly on the front (visible in person) and numbered 20/20 back on the artist's studio label
Tamarind Lithography Workshop, Inc., Los Angeles
This late 1960s work is irregularly shaped by design. It is framed and bears the artist's studio label verso. This piece is rarely seen on the marketplace as other editions are in major museum collections including MOMA, The National Gallery of Art, LACMA and others.
Measurements:
Frame:
13.75 x 13 x 3 inches
Artwork:
11 3/4 × 11 × 1.5 inch
The work is signed on the front. Billy Al famously signed lightly. This print is irregularly shaped by design - it is deliberately slanted even when removed from the square frame.
- Creator:Billy Al Bengston (1934, American)
- Creation Year:1968
- Dimensions:Height: 13.75 in (34.93 cm)Width: 13 in (33.02 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good original studio condition. The print is irregularly shaped by design.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214338632
Billy Al Bengston
Based in Venice, California, Billy Al Bengston burst onto the scene in the 1950s with his passion for motorcycle racing and art. Bengston was discharged from the California College of Arts and Crafts in 1955 for depleting the clay supply. Following this exit, he enrolled at the Otis Art Institute to study under Peter Voulkos whom he later named as a significant influence, along with Richard Diebenkorn. Bengston found immediate success in the Los Angeles art scene, enjoying multiple solo shows at Ferus Gallery and a 1968 exhibition at the Los Angeles County Museum of Art. His artistic output, mainly sculpture and painting, is informed by a variety of influences that range from his love of motorcycles and car-detailing techniques to recurring geometric shapes similar to those of Jasper Johns. Art historian Andrew Perchuck included Bengston among the "West Coast artists, including Robert Irwin and Ken Price, who were instrumental in redefining the terms of artistic identity in the early 60s by insisting that sub-cultural affinities and leisure-time activities (surfing, car customizing) were at the foundation of their artistic personas."
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