Born and raised in New York City, artist ELLIE ALI's paintings were first inspired by the jazz and literary worlds of the nineteen fifties and sixties, and then by her traveling and painting in North Africa, Europe and India. She has exhibited widely and is a prolific and serious painter. Her medium is an unusual use of acrylics, chinese ink and oil paints on paper. Paper has always been her co-conspirator; always surprising in its versatility. The human figure is a constant in ALI's work. They speak to her. She listens. ELLIE ALI's paintings are collected internationally. She lives in New York City and Lisbon, Portugal.
ELLIE ALI works on paper 49 acrylic, chinese ink, and bronze powder on paper 22" x 30" $3500
BIOGRAPHY AND SELECTED EXHIBITIONS
Art Design & AIRFFICIAL.COM mimi 1-917-213-0476 mg2391(at)yahoo 690 melrose ave bxyn 10455 sien 1-917-362-1924 sienide(at)gmail
Laurance Rassin DigitaLookBook 1212-203-9307 514 W 25 th Street Showroom 3 NY,NY 10001
Lot 2198 Andy Warhol American, 1928-1987 Untitled (Pink Shoe) Signed Andy Warhol (lr) Ink, watercolor and mixed media collage on paper 13 x 19 1/2 inches (33 x 49.5 cm) Property from the Estate of Marilyn Kaytor Sold to a buyer from New York for $97,000
Lot 2197 Andy Warhol American, 1928-1987 Untitled (Floral Still Life) Signed Andy Warhol (lr) Ink, watercolor, gold and metal leaf on paper 16 3/4 x 13 3/4 inches (42.5 x 34.9 cm) Property from the Estate of Marilyn Kaytor Sold to a buyer from Germany for $145,000
The January 21, 1957 issue of Life Magazine featured a two-page spread devoted the “Crazy Golden Slippers” of Andy Warhol. These elaborate artworks by Warhol were the dominant focus of his artistic output at the time, and were exhibited in a well-received show at the Bodley Gallery in New York. The show, entitled “Andy Warhol: The Golden Slipper Show or Shoes Shoe in America,” December 3-22, 1956, related to Warhol’s previously established vocation as a graphic artist for such clients as McCall’s, Harper’s Bazaar, and I. Miller. Yet today, one can also see in them the development of a popular-culture dialogue that Warhol employed throughout the remainder of his career. The Golden Slipper works of Warhol merge high and low culture in subject matter as well as technique. Since ancient times, ornamental gold leaf was restricted to objects of luxury primarily created for the upper classes. In contrast, contemporary candy-box decorations with simulated gold finishes, as are used in Gold Shoe, are mass-produced to appeal to a broad public. While Clement Greenberg’s 1939 essay “Avant-garde and Kitsch” proposed language to understand the divide between high and low art, Warhol instead took the concept of “kitsch” and endowed it with a language-like structure that brings it into the realm of high art. The first references to popular culture in visual art antedate Warhol’s work by nearly a century. As early as 1882, Edouard Manet employed the Bass Ale symbol in his iconic A Bar at the Folies-Bergère. In 1910, Stuart Davis took cues from Robert Henri to reject traditional ideas of subject matter and to instead select imagery from the modern world. Davis absorbed this idea and soon began to incorporate commonplace objects such as disinfectant and cigarette brands into his art. Ranging from Henry Ford’s “Model A” to Campbell’s soup cans, America is defined by labels. Perhaps no one understood this better than Warhol, as evidenced by the titles given to the shoes exhibited in 1956. Bearing titles such as Elvis Presley, James Dean, Truman Capote and Zsa Zsa Gabor, the Golden Slippers series transcends utilitarian function to embody the artist’s fantasy life of celebrity
.
Marilyn Kaytor was an influential writer on food and cooking who produced stories for numerous magazines and newspapers, including Esquire, New York, The Los Angeles Times, The Saturday Evening Post and Cuisine. She was also the food editor of Look Magazine for twelve years and authored the book 21: The Life and Times of New York’s Favorite Club. At a time when Americans were just becoming aware of foreign cooking, she wrote articles on the cuisines of a variety of exotic locales from the West Indies to the Balkans. She conceived the ideas for her articles, and then traveled to conduct primary research, tested recipes, scouted shoot locations, gathered props and styled the shoots herself. Her work won many awards for visual and editorial coverage.
A woman of great style and personal flair, she maintained a New York apartment filled with Renaissance revival furniture, African hunting trophies and works of art ranging from pre-Colombian ceramics to contemporary paintings. In this setting she hosted lively dinner parties that brought her stylish food tableaux to life.
Among her many acquaintances was the artist Andy Warhol. The three works offered in this sale were among a group that she purchased from Warhol in the early 1960s.
Lot 2217 Kenneth Noland American, b. 1924 Trans Jut Acrylic on canvas 6 1/2 x 93 1/2 inches (16.5 x 237.5 cm) Provenance:Mr. and Mrs. Richard Danziger Waddington Galleries, London Maxwell Davidson Gallery, New York Christie's New York, May 1, 1985, lot 52 Sold to a buyer from New York for $97,000
Lot 2188 Bob Thompson American, 1937-1966 Men and Birds, 1963 Signed B. Thompson and dated '63 on the reverse Oil on canvas 36 x 36 inches (91.4 x 91.4 cm) Provenance:Aquired directly from the artist Mr. and Mrs. Herb and Nancy Weingarten Exhibited:New York, Whitney Museum of American Art, Bob Thompson, September 1998 - January 1999 Detroit, Michigan, Detroit Institute of Art, Bob Thompson, September 1999 - January 2000. Sold to a buyer from New York for $91,000
Ripped and Torn is an arcade of unique artworks that appear to be sliced and diced with a scalpel, torn and ripped by hand, and assembled from non-logical parts by 24 whimsical artists who set out to create the aesthetic illusion of a magical world conjured up from the depths of their subconsciousness.
Today collage has re-emerged as an exciting challenge to contemporary painting, recreating and reinventing the techniques of chance operation, cut and paste, image poetry, and computer manipulation. Destroying, deconstructing, and reassembling imagery produces new, totally different, and amazing results. These post-surrealist collagists use media sampling for their uniquely crafted artwork, often experimenting in the fourth dimension with words and strong textures of textiles, handmade paper, and objects. The curators are Valery Oisteanu and Jeffrey Cyphers Wright, both poets, art critics, and artists from the East Village who have helmed controversial group exhibits before, showcasing local talent, and mentoring many new artists in the form of collage through exquisite corpses workshops and numerous publications.
Participating artists in Ripped and Torn include John Evans, the dean of East Village collage, displays his exquisite compositions of found objects alongside the works of his daughter India Evans, a new star in the collage constellation. Amy Ernst comes from four generations of artists, and has a knack for producing phantasmagorical collages and books.
Charles Mingus III combines digital imagery with political satire, and creates surreal sculptural works. Angelo Jannuzzi’s erotic collages light up the mirrors of our desires and ignite our suppressed urges. Rakien Nomura experiments with different handmade colored papers as a field for Van Gogh’s black birds. Allen Sheinman offers multilayered dreamscapes via curiously sculpted paper. Sali Taylor combines clusters of Cycladic images embracing sensual females. Micci Cohan’s colorful 3D assemblages open a Pandora’s box of spirits and laughter. Lucien Dulfan paints cosmic encounters, and adds collages of textiles and paper with a playful theme. Valery Oisteanu presents surreal assemblages of object trouve as time capsules of the East Village.
On June 9, 1978, an obituary appeared with the headline "On the death of Hannah Höch, the bob-haired muse of the Men's Club." For much of her life, Höch had been characterized as the "It Girl" of the macho Berlin art circle dominated by George Grosz, John Heartfield, Richard Huelsenbeck, and Raoul Hausmann (Höch’s onetime lover). These boys formed the Club Dada in 1918 and launched an all-out attack on German bourgeois culture. But Höch was much more than their moll or muse.
Höch’s impact on Berlin Dada was profound. She was a master practitioner of photomontage -- a technique that all the dadaists adopted. With its roots in the kitsch tradition of splicing heads from family photos onto magazine pictures of ideal soldiers or angelic women, photomontage took images and type from the popular press and combined them in ways to reveal the fissures that ran through middle-class ideology.
Höch’s most famous work, "Cut with the Kitchen Knife: Dada Through the Last Weimar Beer-belly Cultural Epoch of Germany" (1919), is a 3’ x 4’ collage bursting with images of German industry, military figures, and recreational gaieties. Amid these pictures, the word "dada" cuts like a knife, exposing the ludicrous contradictions that were Weimar. Other works such as "Hochfinanz" (High Finance) directly critique the connection between bankers, industrialists, and the military.
Over time (and she was an active artist into the 1970s), Höch's work evolved from the propagandistic banner into a reflection on the politics of the self. Her views concerning women and the idea of beauty were seeds for many pieces that used mass media images to fracture canonical concepts of womanhood. Her "Ethnography Museum" series combined photos of African and Asian sculpture with photos of Western body parts in order to probe stereotypes of the "primitive" and "exotic" as opposed to the "civilized."
Höch was a social archaeologist working in reverse. Her montages break down what we see and know, and put the fragments back together in a way that makes us question the concepts of identity, culture, and subjectivity. Höch found the self in the Other in order to deconstruct racism, sexism, and politics. She didn’t limit herself to angry anti-bourgeois messages or the macho posturing of some of the male dadaists, but expanded the scope of her work to mine the intersection between public images and private selves. And on top of all that, she did have an excellent bob.
To coincide with Höch’s 1997 exhibit at LACMA, the Christian Science Monitor published this brief, laudatory article. According to the piece, Höch’s work depicts a sensitive awareness to issues facing women and other marginalized communities.
Hannah Höch’s work is a complex mélange of harsh politics and delicate femininity. Slate’s Luc Sante does not pretend that Höch invented photomontage; however, he does recognize the artist’s unique ability to transform the limited materials of print media into something angry and subversive.
Having to find something to be critical about, Artnet laments the fact that the Höch retrospective at Minneapolis’ Walker Art Center was "long overdue." Once Rosanne Altstatt gets that slight out of the way, however, she proceeds to illuminate the exhibit’s admirable qualities, such as its emphasis on "the chaos of images in a mass media culture."
Iconoclast begins its tribute to Höch with a quote from the artist that serves as both an explanation and a lament: "Dada was probably above all else a kind of eulogy for a form of government and life whose time and past and world view [sic] had gone up in flames." Höch, however, never wallowed in nostalgia. Instead, she forged ahead, creating a new aesthetic.
The University of Chicago presents ten images from Höch’s revered oeuvre of photomontages. The works speak for themselves; Höch was clearly a great innovator of twentieth-century art.
Masks, Music Masks, The Equinox Celebration Tarot (decks and readings), Bronzes, Ebony Carvings, Life Casts, Leather Hats,
Tee Shirts, Stone carvings, tarot cards and readings, Romeo's Bowties (what's that? Broaches and pins!), etched copper reliefs, Spirit Guides, Good folks like yourself and some surprises! Light refreshments will be served.
Biography Amir is a sculptor, set and costume designer, curator, and astrologer who is also a long standing resident of East 3rd Street. He has spent his time in the Bronx, California, Michigan and Turkey. His work was exhibited at the Lower East Side Printshop, NY, The Mwanga Collection, Oakland, CA The Printmaking Workshop, NY, The Schomberg Collection, NY. He was also commissioned by the New York City Transit Museum for a permanent Installation 2006 Mount St. Eden Subway Station. Click here to download
Statement “Amilcar and the Mermaid” (variation IV), is devoted to the notion of people as waves and streams whose movements can be seen as processes of social evolution. The aluminum sheet and its malleability and reflective quality gave Amir Bey the flexibility of simulating fluidity of water. Bey captures the simplicity of his subject’s facial features with precise patination techniques. The face is a key component for this series because of the facial features, and how it can describe unique characteristics of an individual. This piece is inspired by a short story that he wrote called, "Amilcar and the Mermaid". Click here to download.
Art collectors and print connoisseurs have two new objects of desire: a set of fine art limited edition prints (with a run of only 100 each) by celebrated contemporary urban artist Futura (Juxtapoz cover #57). Futura’s recent LA show, Strategic Synchronicity, marked an extraordinary return from one of graffiti’s most influential pioneers: the progression and intricacies of the pieces confirmed the collection as his best work to date.Strategic Synchronicity was produced by curators KRUNK, an international team dedicated to the concept of ‘pop-up’ art shows staged in unique settings, with specially-created multimedia backdrops that use music and film to heighten the viewing experience. Collectors now have one final chance to own a part of this seminal show, as KRUNK has re-created two of the key abstract paintings (shown) from the collection in ‘ultimate’ quality print form. These prints will be available for pre-order December 8th; all other buyers can purchase them starting December 10th. Details here.
Wim Delvoye is an artist widely known for his collection of tattooed pigs, which he personally raises on a farm in China. Also known for the Cloaca Machine, a digestion system that produces excrements out of food, the Belgian artist has caused further controversy in this year’s major art fairs. The organizers of ShContemporary, Shanghai’s much anticipated contemporary art fair, have banned the Belgian artist’s planned exhibition of tattooed pigs. Workers at the fair dismantled the sty that would have held eight pigs, tattooed with the Louis Vuitton logo and Walt Disney characters. Delvoye, who made headlines just recently when he sold a tattoo on another man’s back, bred the pigs on a farm outside Beijing, tattooing them young and letting the images stretch as they grew. The hides are sold for up to €7,500 ($10,600) a piece. In February, two bags made from one of his hides, marked with Disney characters, were exhibited at Chanel’s Mobile Art exhibition in Hong Kong.
Delvoye has been tattooing pigs since the 90s. The Tattooed Pigs project was set up in the Art Farm in China, where there are fewer strictures regarding animal welfare than in most parts of the Western world. For his subjects, Delvoye selects classic and contemporary icons of perfectionism, and symbols for the highest human standards. In his work, Delvoye questions the paradigm of the 20th century, when the artist became the creator of a new subjective world with the distortions he consciously and unconsciously makes to the image of nature. Delvoye places the human body in the center of his work. From the Cloaca Machine, which mocks the human digestion, as well as the tattooed pigskins, which resemble the human skin.
Die Künstlerin, ist weithin bekannt für seine tätowierte Schweine wirft er auf einem Bauernhof in China und für seine Kloake Maschine, ein System, das die Verdauung produziert Exkrementen von Lebensmitteln, dieses neue Gremium der Arbeit markiert einen wichtigen Schritt in seinem Werk.
Hier verbindet er Ideen aus früheren Projekten mit einer revolutionären technischen Entwicklung, die es ihm ermöglicht, zu verzerren ikonischen Probanden mit größter Perfektionismus.
Wim Delvoye’s planned exhibition of tattooed pigs was banded from the ShContemporary Art Fair in Shanghai earlier in September.
The Citrus Report Issue 6 - I Learned About Relationships From "Mad About You" Reruns
Thursday, 04 December 2008
The newest issue of The Citrus Report is now up and celebrating the lingering post-Thanksgiving bloatation and impending holiday madness. The newest interviews are with the amazing Tomer Hanuka (Juxtpoz cover #84) whose new contributions to the animated film Waltz With Bashir is getting rave reviews across the world (Tomer's work shown above.) Also included in this edition is leading contemporary illustrator Aaron Horkey (Juxtapoz #87) and Nima Nabavi, one of the owners of streetwear e-commerce site, Digital Gravel. Oh, and Ricky Powell gives some post-election thoughts…you know it’s gotta be good, so hit up thecitrusreport.com now.
Imagine our excitement when artist and Graffiti Research Lab co-founder Evan Roth (aka fi5e) was asked by the cats at RED to make a video. Not just any video; a video for a new Kanye West produced Jay-Z song (featuring Santogold, which will be featured on the soundtrack for the Notorious B.I.G. biopic Notorious) for RED & the Global Fund to Fight AIDS in Africa. We love Evan Roth, Kanye West, and Jay-Z and hate AIDS, so this new project is right up our alley. Not only is the song sick, but the visuals (made up of only letters from the word 'BROOKLYN') really take it to another level. Looks like Brooklyn has a new anthem. Roth recently wrote on his blog: “Last week I was contacted to make a video for a new Kanye West produced Jay-Z song for RED & the Global Fund to Fight AIDS in Africa. It launched today (World AIDS Day) at red.msn.com. And while I'm happy to be able to help the cause I'm also more than a little bit excited about getting a chance to make something for the likes of Jay-Z and Kanye. "I've been turning down client requests to use Typographic Illustration for 5 years in hopes that one day the phone would ring and it would be Hova. [...] I'm pretty sure that this is the first rap video to end with a download source code link.” Watch the whole video below, and then hit up google, as Roth is the self-proclaimed number one return for the google search "bad ass mother fucker"
)
)
){kind=small}
)
