The partnership of mononymous artists Christo and Jeanne-Claude produced some of the most recognizable pieces in contemporary art.  One might say the pair’s prime medium was ambiguity, with all final pieces being temporary installations that left behind only memories, photographs and a multitude of preparatory sketches and collages.  “I think it takes much greater courage to create things to be gone than to create things that will remain,” said Christo of his process.  The couple’s environmental installations were decidedly non-conceptual, the only concept being the immediate aesthetic impact and temporary nature of their work. 

To merely call Leo Castelli a famous art dealer would be an understatement.  One of the most influential people in American art, Castelli single handedly altered public consciousness by introducing Abstract Expressionism, Pop Art, Conceptual Art and Minimalism to the landscape of New York City’s gallery scene.  Always the champion of up and coming artists, the Leo Castelli gallery was a launch pad for some of contemporary art’s most famous names. 

In 1898 the City of Brooklyn became one of the five boroughs of New York City.  Called “the great mistake of 1898”, the annexation was a subject of contention amongst proud Brooklynites.  Already joined physically by the completion of the Brooklyn Bridge in 1883, Kings County’s inclusion into the metropolis was a pivotal point in defining New York City as a diverse, multi-dimensional urban center.   Over 110 years later, Brooklyn is known as a vibrant cultural destination, distinct from the iconic of presence Manhattan.

The 1950’s saw a massive shift in attitude toward certain elements in art that were, until that point, considered to be congruent with its definition.  The usual conventions of sophistication, abstraction and romance were challenged in the wake of the mass culture and advertising that followed WWII.  As in the way the Dada movement reflected WWI Europe, the Pop Art movement sought to celebrate the banal, consumerist landscape of Britain and America by using ironic imagery as means of cultural contemplation.

**This is not a square poster. There is no white border.** Printed by the Universal Limited Art Editions for Larry Rivers' first comprehensive retrospective.  For each of the five museums that held the retrospective in exhibition, ULAE made prints for each.  This is from the Rose Art Museum, Brandeis University start of the exhibition.

 DAVID HOCKNEY "An Etching & a Lithograph" Original Event Poster for An Etching and a Lithograph for Editions Alecto, 1973, measures 37 x 27 in. Brian Baggott Catalogue ref. no. 40
Collotype, 1973, the edition was 2000, printed by Cotswold Collotype, on cartridge paper, with margins.   http://www.rareposters.com/index.php/medium/mixed-media/hockney-an-etching-and-a-lithograph.html

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