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JEFF KOONS (b. 1955)

 
JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in. JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.
Train (blue)200732 x 25 1/4 in. screenprint with digital inkjet on Somerset paper
Provenance
Kenneth A. Friedman & Co., California
Private Collection, California, 2016

40,000

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Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

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Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

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This painting has remained in the same private collection since its creation.  Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.  
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<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

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Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

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THEASTER GATES - Lathe Black Box - wood, glass and lathe - 50 1/4 x 53 x 6 7/8 in.

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LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 73 3/8 x 96 3/4  x 26 1/4 in.

LEANDRO ERLICH

SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

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DANIEL SPRICK - Interior Still Life - oil on masonite - 48 x 40 in.

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Contemporary Chinese artist Zhang Huan is best known for his provocative and challenging performance art. The detailed insects in this painting recall the artist's striking performance piece, 12 Square Meters (1994), in which he sat covered in honey and fish oil in an unkept public toilet, attracting flies and other insects. Here, canvas replaces flesh, allowing bugs to explore this human terrain. Earth Life No. 19 (2007) is meant to be a meditation on the ability of mind and spirit to overcome physical discomfort.

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HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4  in.

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ROBERT MAPPLETHORPE - Orchids - dye-transfer print - 22 1/2 x 21 1/2 in.

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PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

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PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

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THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

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GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

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RUSSELL YOUNG - Wave. Rage, rage against the dying of the light - indigo pigment screen print on felt in 6 panels - 73 1/2 x 119 1/2 in.

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JOHN FRAME - Untitled - wood and mixed media - 53 x 40 x 6 3/4 in.

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Provenance: 
<br>Imago Galleries, CA
<br>Private collection, CA (acquired from above)

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