Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

Skylar Fein
Pinstripe III

2015

$650
£496.98
€568.88
CA$916.58
A$997.80
CHF 532.65
MX$12,045.72
NOK 6,697.41
SEK 6,224.80
DKK 4,248.69

About the Item

SKYLAR FEIN x MRSA (collaboration) SKYLAR FEIN was born in Greenwich Village and raised in the Bronx. He has had many careers including teaching nonviolent resistance under the umbrella of the Quakers, working for a gay film festival in Seattle, stringing for The New York Times and as pre-med student at University of New Orleans where he moved one week before Hurricane Katrina hit. In the wreckage of New Orleans, Fein found his new calling as an artist, experimenting with color and composition of the detritus of Katrina. His work soon became known for its pop sensibility as well as its hard-nosed politics. After a few starring roles in group shows, he had his first solo show in May 2008 at Jonathan Ferrara Gallery in New Orleans. In the fall of 2008, his Prospect.1: Biennial installation, "Remember the Upstairs Lounge," shined a spotlight on an overlooked piece of New Orleans history: a fire that swept through a French Quarter bar in 1973, killing everyone inside. The worst fire in New Orleans history has never been solved. His installation walked visitors right through the swinging bar doors, and offered visual riffs on politics and sexuality circa 1973. The piece was praised in Artforum, Art In America, The New York Times Magazine and The New Yorker, among others. In late 2009, Fein had his first solo museum show, "Youth Manifesto," at the New Orleans Museum of Art. The exhibition was an ode to punk rock as a force for social and cultural upheaval. True to form, the opening reception was shut down by police responding to the look of the unlikely art-going crowd. In March 2010, Jonathan Ferrara Gallery presented Fein's solo installation, “Skylar Fein: Rise of the Youth Front" at VOLTA Art Fair in New York during Armory Week. This installation drew thousands of people and delved into revolutionary politics past and present, a continuing theme in Fein's work. In May 2010,Fein was invited by the New York curatorial project No Longer Empty to recreate his "Remember the Upstairs Lounge" installation in a vacant Chelsea space. The exhibition, once again, drew thousands of visitors and sparked renewed interest in this piece of history. In September 2011, Fein exhibited over eighty new works in his solo exhibition Junk Shot at Jonathan Ferrara Gallery, New Orleans. This exhibition embodied this artist’s turn towards formalism and art historical reference while maintaining Fein’s iconic sensibilities and aesthetic. Fein's solo exhibition "Beckett at War" in September 2012 at C24 Gallery in Chelsea was praised as one of the top ten exhibitions of the year in New York, in The Village Voice. He followed that up with his November 2013 installation of "The Lincoln Bedroom" which received wide media attention. Fein unveiled his “Giant Metal Matchbook” series in his 2014 solo exhibition at Jonathan Ferrara Gallery. Since then, the series has been exhibited nationally at art fairs including a solo presentation at VOLTA NY, as well as, Miami Project for Art Basel Miami Beach, Texas Contemporary, artMRKT San Francisco, and the Seattle Art Fair - and has continued to gain momentum in rave reviews and collector acquisitions. Skylar Fein was the recipient of a 2009 Joan Mitchell Foundation Award and his work is in several prominent collections including The Whitney Museum of American Art, The Brooklyn Museum, The Frederick R. Weisman Art Foundation, The Louisiana State Museum, The Birmingham Museum of Art, the New Orleans Museum of Art, curators Dan Cameron and Bill Arning, and collectors Beth Rudin DeWoody, Lance Armstrong, Lawrence Benenson, Brooke Garber-Neidich, Stephanie Ingrassia and Thomas Coleman.
  • Creator:
    Skylar Fein (1968, American)
  • Creation Year:
    2015
  • Dimensions:
    Height: 10 in (25.4 cm)Width: 10 in (25.4 cm)Depth: 2 in (5.08 cm)
  • Medium:
  • Movement Style:
  • Period:
  • Condition:
  • Gallery Location:
    New Orleans, LA
  • Reference Number:
    1stDibs: LU10522062123

More From This Seller

View All
Spaced
By Bonnie Maygarden
Located in New Orleans, LA
Maygarden discusses the inspiration for Paradise . . . Through painting, I seek to create imagery that harkens to the sublime nature of light and color. In creating this body of wor...
Category

21st Century and Contemporary Contemporary Abstract Paintings

Materials

Canvas, Acrylic

Fin
By Jenny Day
Located in New Orleans, LA
[Tucson, AZ / Santa Fe, NM ::: b. 1981] BIO JENNY DAY (b.1981) is a painter who divides her time between Tucson, Arizona and Santa Fe, New Mexico. She earned an MFA in Painting ...
Category

21st Century and Contemporary Abstract Abstract Paintings

Materials

Crayon, Glitter, Spray Paint, Acrylic

Shift #2
By Margaret Evangeline
Located in New Orleans, LA
Margaret Evangeline is a contemporary painter, sculptor, and installation artist who lives and works in New York City. She was the first female recipient of an MFA in Fine Arts from ...
Category

2010s Contemporary Abstract Paintings

Materials

Canvas, Oil

Compress I
By Bonnie Maygarden
Located in New Orleans, LA
Bonnie Maygarden is a multimedia artist who received her MFA in Studio Arts from Tulane University. The destruction of Hurricane Katrina caused her to take leave of New Orleans to fu...
Category

2010s Contemporary Abstract Paintings

Materials

Canvas, Acrylic

Splinters, Lumens
By Jenny Day
Located in New Orleans, LA
2017 Acrylic, enamel, pencil, paint pen and collage on panel 20” x 48” Jenny Day is a painter who divides her time between Santa Fe, New Mexico and Tucson, Arizona. She paints a fra...
Category

21st Century and Contemporary Contemporary Abstract Paintings

Materials

Enamel

Compress II
By Bonnie Maygarden
Located in New Orleans, LA
Bonnie Maygarden is a multimedia artist who received her MFA in Studio Arts from Tulane University. The destruction of Hurricane Katrina caused her to take leave of New Orleans to fu...
Category

2010s Contemporary Abstract Paintings

Materials

Canvas, Acrylic

You May Also Like

"A Stripe" Calvert Coggeshall, Abstract Expressionism, Hard-edge Vertical Lines
Located in New York, NY
Calvert Coggeshall A Stripe, 1971 Signed, titled, and dated on the reverse Acrylic on canvas 30 x 30 inches Calvert Coggeshall worked as an abstrac...
Category

1970s Abstract Expressionist Abstract Paintings

Materials

Canvas, Acrylic

Stripes One, Abstract Painting by Peter Mack
By Peter Mack
Located in Long Island City, NY
Artist: Peter Mack Title: Stripes One Year: circa 1980 Medium: Acrylic on Canvas with Clear Vinyl Overlay, signed l.r. Size: 48 x 48 in. (121.92 x 121.92 cm) Frame Size: 49 x 49 inches
Category

1980s Abstract Abstract Paintings

Materials

Acrylic

Stripes R7
Located in King, ON
In creating this piece, I channeled the vibrancy of life into bold, colorful stripes that dance across the canvas in a joyous rhythm. Each stroke of acrylic was a deliberate act of f...
Category

2010s Abstract Abstract Paintings

Materials

Acrylic, Wood Panel

Stripes R8
Located in King, ON
In this piece, I poured my fascination for simplicity and balance into every stroke, guiding acrylics with precision to create an ensemble of harmonious stripes. This circular canvas...
Category

2010s Abstract Abstract Paintings

Materials

Acrylic, Wood Panel

Untitled
By Roland Ayers
Located in Wilton Manors, FL
Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...
Category

1980s Abstract Abstract Paintings

Materials

Paper, Ink

Untitled
$960 Sale Price
20% Off
Stripe 3
By Mary Long
Located in Santa Fe, NM
Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she began working in encaustic in 2001. Mary grew u...
Category

2010s Abstract Geometric Abstract Paintings

Materials

Mixed Media, Encaustic