Tag Archives: R.S. Johnson Fine Art Chicago

EXPO Chicago 2013, Festival Hall, Navy Pier. International Exposition of Contemporary & Modern Art, September 19-22, 2013. (25 Photos).

Festival Hall, Navy Pier, Expo Chicago/2013.

Robert Natkin (American, 1930-2010), Untitled, 1957, McCormick Gallery Chicago & Vallarino Fine Art New York.

Hung Liu (American, Chinese b.1948), Da Fa Che II, 2013, mixed media, 82 x 82 in., Nancy Hoffman Gallery, NY.

Bruce Dorow (b. 1959), Black Shape Space, oil on canvas, 38 x 65 inches, 2012-2013. R.S. Johnson Fine Art, Chicago.

Aimé Mpane (Congo, born 1968), IC Cont Series, 2011-2013, acrylic and mixed media on wood panel, 12.5 x 12 x 2 in., Haines Gallery, San Francisco.

Patrick Strzelec, American sculptor. Garth Greenan Gallery, Chicago.

Jack Roth (1927-2004), Metafour II, acrylic on canvas, 57 x 54 inches, 1980, McCormick Gallery, Chicago and Vallarino Fine Art, New York.

Jonathan Boos, LLC, New York.

Jacob Lawrence (American, 1917-2000), The Lovers, gouache on paper, 21.5 x 30 in., signed & dated lower right. Jonathan Boos, LLC, New York.

Charles White (American, 1918-1979), Oh, Mary, Don’t You Weep, 1956, Graphite, pen, ink, on paper, 39 1/4 x 41 1/2 inches, Jonathan Boos, LLC.

50%.

Romare Bearden (American, 1911-1988), Manhattan Suite, 1975, collage and mixed media on board, 24 x 18 inches, Jonathan Boos, LLC.

50%

Haines Gallery, San Francisco.

William T. Kennedy, Warhol Holding Marilyn Acetate 1, executed 1964, 2010. This was made when Warhol wasn’t yet famous but at the center in a shift in the culture of the art world.

Larry Rivers (American, 1923-2002), Small Drugstore, 13.5.x.15.25 inches, oil on canvas mounted on board, 1959. Techniques of color-field painting, gestural abstraction, and calligraphy come together in a picture that is objective and abstract.

Die Galerie, Frankfurt am Main.

Expo Chicago 2013.

Long–Bin Chen (Taiwan, born 1964), Edvard Grieg, 28x29x15 inches. New York-based Long-Bin Chen transforms paper products into sculpture. Books are constructed so that parts (and often titles relevant to the subject) fit together seamlessly.

Michele Pred, Targeted, 2012, Vintage hat bag, birth control pills, 24x1x6 inches. Nancy Hoffman Gallery, New York. Michele Pred incorporates aspects of contemporary culture and politics in her art. The Berkeley, California, artist uses unconventional materials that serve as cultural artifacts for her conceptual approach.

Elizabeth Catlett (American, 1915-2012), Star Gazer, 1997, black marble, 14.5 x 32 x 11 in., signed. Jonathan Boos LLC. Catlett is known for depictions of African-American and Latin American working-class women using simple, solid shapes in wood, stone, bronze or clay.

Expo Chicago 2013.

Siebren Versteeg (American, b. 1971), Good Times_1081_2003_05_09, 2012, Algorithmically generated archive inkjet output to paper, tape. 92 x 56 inches, Rhona Hoffman Gallery, Chicago. The New York-based artist was educated at the SAIC and UIC. Mined digital content is presented as painterly abstractions or monitor displays.

R.S. Johnson Fine Art, Chicago. Top left: Fernand Léger (1881-1955), Mère et Enfant, 1949, gouache;  right: André Lhote (1885-1962), Les Acacias, 1959, oil on canvas.  

Tommie Smith at Expo Chicago 2013. Smith is an American former track and field athlete and American Football League wide receiver. On October 16, 1968, the 24-year-old Tommie Smith won the 200-meter sprint finals and gold medal in 19.83 seconds at the 1968 Summer Olympics in Mexico City. It was the first time the 20-second barrier was officially broken in competitive sports history. Atop the medal podium and with heads bowed, Smith’s Black Power salute with silver-medal-winner John Carlos protested racism and injustice against African-Americans in the United States. Smith’s raised fist as the national anthem played is seen as one of the most overtly political statements in the history of the modern Olympics and caused controversy. In Silent Gesture: The Autobiography of Tommie Smith (Temple University Press, 2008), Smith maintained that the gesture was not a “Black Power” salute solely but a “Human Rights” salute. In any event, Smith’s raised fist salute in 1968 became one of the most iconic moments in the Olympic games and the history of the Black Power movement.

Glenn Kaino, Bridge, 2013. A section of a 100-foot long construction that features 200 gold casts of Tommie Smith’s arm in a raised fist salute that occured in the 1968 Summer Olympics on the medal podium during the national anthem after Smith broke a sprinting record to take gold.