Bill Schenck
Flamingo Road by Bill Schenck
1982

Name: Flamingo Road by Bill Schenck
Brand: Bill Schenck

$8,500List Price

About the Item

Flamingo Road 1982 Bill Schenck Serigraph, Printers Proof Edition: 60 Image Size: 24 x 27 inches Paper Size: 28 x 30 inches Condition: Excellent, stored in print drawer. Has a ink mark upper left from the hand of the printmaker, easily matted over. Has never been framed. Free Shipping Continental US Billy Schenck has been known internationally for 44 years as one of the originators of the contemporary "Pop" western movement. Schenck has had over 100 solo shows and is included in 44 museum collections. He is an American painter who incorporates techniques from Photo-Realism with a Pop Art sensibility to both exalt and poke fun at images of the West. Career highlights for the artist include the 2013 Utah Museum of Fine Art’s Bierstadt to Warhol: American Indians in the West exhibit, the Denver Art Museum’s “Western Horizons” and a retrospective of serigraphs created by Schenck from 1971 through 1996 at the Tucson Museum of Art. Museum collections include the Mesa Southwest Museum, The Tucson Museum of Art, The Denver Art Museum, Museum of the Southwest, Midland TX, Albuquerque Fine Arts Museum and the New Mexico Museum of Art. Private collections include the estate of Malcolm Forbes, Steve Forbes, Chris Evert, Elaine Horwitch, Louis Meisel, Martina Navratilova, Laurance Rockefeller, the estate of Fritz Scholder and Sylvester Stallone. Corporate collections include: American Airlines, I.B.M., Raymond James Financial, Wells Fargo Bank, Hilton Hotels, Sturm Ruger and The National Bank of Switzerland. “What has remained constant throughout Schenck’s career is his individuality in dealing with the subject matter of the west. Using the artistic formula of classic western film direction and the photographically reliant systems of contemporary art, he has bridged two genres that resonate with the American experience. From early depictions of cinematic cowboys to real-life cowboys and cowgirls to poetic reveries about the Native American existence in the Southwest, Schenck melds the real with the imagined, autobiography with fantasy.” Education: 1965-1967 Columbus College of Art and Design, Columbus, Ohio 1967-1969 BFA Kansas City Art Institute, Kansas City, Missouri Selected Solo Exhibitions: 2014 "The Myth of the West," Mark Sublette Medicine Man Gallery, Tucson, AZ 2013 Mark Sublette Medicine Man Gallery, Tucson, AZ 2011 Tucson Museum of Art, "Bill Schenck Serigraphs 1971-1996 Retrospective", Tucson, AZ 2010 The Art Museum of Eastern Idaho, Bill Schenck Serigraphs 1971-1996 Retrospective, Idaho Falls, ID 2010 Strong Schenck Galleries, Bill Schenck: "New Paintings", Santa Fe, NM 2010 Strong Schenck Galleries, "Bill Schenck New Paintings", Scottsdale, AZ 2009 Strong Schenck Galleries, Grand Opening Solo Exhibition, Santa Fe, NM 2007 Tadu Contemporary/Schenck Southwest, "'Till the End of Time" Graffiti paintings, Santa Fe, NM 2006 Booth Western Art Museum, "Post Apocalyptic Pop", Cartersville, GA 2002 West Valley Museum, "New Directions", Surprize, Arizona 2001 Museum of the Southwest, "Point of Departure", Midland, Texas 1996 Albrecht Kemper Museum of Art, Ten Year Retrospective, "The West as it Never Was", St. Joseph, Missouri 1990 Wyoming State Museum, Cheyenne, Wyoming, "Bill Schenck, A 10 Year Retrospective 1980 - 1990" 1987 Kimball Art Center, Park City, Utah 1983 Scottsdale Center for the Arts, "Bill Schenck 1968-83, 15 Year Retrospective", Scottsdale, Arizona 1978 West Nebraska Arts Center, Scottsbluff, Nebraska 1975-76 Concord Courthouse Bicentennial Exhibition, Concord, Massachusetts 1971 "100 + 101" Loft Exhibition, New York, New York Selected Group Exhibitions: 2019 "Along the Distant Mesa: An Homage to Maynard Dixon" Mark Sublette Medicine Man Gallery, Tucson, AZ 2019 "Night of the Artists," Briscoe Western Art Museum 2017 "25th Anniversary Celebration" Mark Sublette Medicine Man Gallery, Tucson, AZ 2014 “Night of the Artists” The Briscoe Western Art Museum, San Antonio, TX 2014 Museum of Fine Arts “New Mexico and the Arts of Enchantment, St. Petersburg, FL 2014 LA Art Show, Los Angeles, CA 2013 National Cowboy and Western Heritage Museum “Small Works, Great Wonders,” Oklahoma City, OK 2013 “The West Select” Phoenix Art Museum, AZ 2013 NM Museum of Art, “Back in the Saddle”, Santa Fe, NM, curated by John Torres Nez and Joseph Traugott 2013 Briscoe Western Art Museum, “Night of Artists”, San Antonio, TX 2013 The Coeur d'Alene Art Auction group, “March in Montana”, Great Falls, MT 2013 Utah Museum of Fine Arts, “Bierstadt To Warhol: American Indians in the West”, Salt Lake City, UT 2012 The West Gallery, “Grand Opening”, Berlin, Germany 1983 Alberta College of Art Gallery, "2nd Annual Wild West Show", Calgary, Alberta, Canada 1982 Centro De Arte Moderno, Guadalajara, Mexico 1976 Grand Hornu Gallery, "U.S.A. Contemporary Artists", Grand Hornu, Belgium 1976 "U.S.A. Contemporary Artists", Mons, Belgium 1976 Fiore Internationale D'Art, Group Show, Comtebrain, Paris, France 1974 Gallery Moos, Ltd., "Aspects of Realism", Toronto, Canada 1974 Gallerie Trois Porte, Mons, Belgium Selected Museum Collections: Superstition Mountain Historical Museum, Apache Junction, Arizona Mesa Southwest Museum, Mesa, Arizona Scottsdale Center for the Arts, Scottsdale, Arizona West Valley Art Museum, Surprise, Arizona Matthews Center, Arizona State University, Tempe, Arizona University of Arizona, Tucson, Arizona Tucson Museum of Art, Tucson, Arizona Desert Caballeros Western Museum, Wickenberg, Arizona The Autry Museum of Western Heritage, Anaheim, California Denver Art Museum, Denver, Colorado Housatonic Community College, Westport, Connecticut Smithsonian Institution, Washington D.C. The Booth Western Art Museum, Cartersville, Georgia Brigham Young University-Idaho, Rexburg, ID Notre Dame Business College, Bloomington, Indiana Midwest Museum, Elkhart, Indiana Fort Wayne Museum of Art, Fort Wayne, Indiana Eiteljorg Museum, Indianapolis, Indiana Brandeis University Museum, Boston, Massachusetts Babson College Art Collection, Wellesley, Massachusetts Belger Arts Center, Kansas City, Missouri Springfield Art Museum, Springfield, Missouri Albrecht Kemper Museum of Art, St. Joseph, Missouri Yellowstone Art Center, Billings, Montana Missoula Museum of the Arts, Missoula, Montana Albuquerque Fine Arts Museum, Albuquerque, New Mexico New Mexico Museum of Art, Santa Fe, New Mexico Pickard Gallery, Colgate University, Hamilton, New York Otterbein College, Westerville, Ohio C.B. Goddard Center for the Arts, Ardmore, Oklahoma Fred Jones Museum of Art, Norman, Oklahoma Coos Art Museum, Coos Bay, Oregon Art Museum of South Texas, Corpus Christi, Texas Museum of the Southwest, Midland, Texas Brigham Young University, Provo, Utah Rose Art Museum, Richmond, Virginia Clymer Museum, Ellensburg, Washington Nicolaysen Museum, Casper, Wyoming Wyoming State Museum, Cheyenne, Wyoming Whitney Gallery of Western Art, Cody, Wyoming The Nelson Museum of Western Art, Cheyenne, Wyoming Palm Springs Art Museum, Palm Springs, California Phoenix Art Museum, Phoenix, AZ Tacoma Art Museum, Tacoma, Washington West Texas A M University, Canyon, Texas Selected Public Collections: University of Arizona Libraries Special Collections, Tucson, Arizona Arizona State University Libraries Special Collections, Tempe, Arizona Mayo Clinic, Phoenix, Arizona Sky Harbor Airport, Phoenix, Arizona St. Luke's Hospital, Phoenix, Arizona Edward Shaw Cancer Clinic, Vail Hospital, Vail, Colorado Presbyterian Ear Institute, Albuquerque, New Mexico Governor's Mansion, Santa Fe, New Mexico Santa Fe Public Library, Santa Fe, New Mexico Lander Valley Medical Center, Lander, Wyoming Sam and Diane Stewart Foundation, Salt Lake City, Utah St. John’s Medical Center, Jackson, Wyoming Selected Corporate Collections: Collier Gallery, Phoenix Arizona American Airlines, Phoenix, Arizona Jim Simmons (United Bank), Phoenix, Arizona Valley National Bank, Phoenix, Arizona Est, Est, Scottsdale, Arizona I.B.M., Tucson, Arizona United California Bank, Los Angeles, California Wells Fargo Bank, Los Angeles, California Art Programs, San Francisco, California Hilton Hotel, Grand Junction, Colorado McDonald's Corporation , Chicago, Illinois Bob Burnett (Meredith Corporation), Des Moines, Iowa Pioneer Car Stereo, Tokyo, Japan Suntory Liquors , Tokyo, Japan Sturn Ruger Corporation, New Jersey Security Pacific Bank, New York, New York National Bank of Switzerland, Geneva, Switzerland First Interstate Bank, Salt Lake City, Utah Jackson State Bank, Jackson, Wyoming Mountain Bell, Laramie, Wyoming Northern Trust Bank, Phoenix, Arizona Raymond James Financial Collection, St. Petersburg, Florida Vermillion Editions Limited, Amarillo, Texas

Creator:
Bill Schenck (1947, American)
Creation Year:
1982
Dimensions:
Height: 24 in (60.96 cm)Width: 27 in (68.58 cm)
Medium:
Screen
Movement Style:
Contemporary
Period:
1980-1989
Condition:
Gallery Location:
Phoenix, AZ
Reference Number:
1stDibs: LU2623215546602

Category

21st Century and Contemporary Contemporary Figurative Prints

Materials

Screen

Carole Feuerman
Multicolor Bathing Cap, 2014

Screen

Bill Schenck
Red Rider by Bill Schenck, 1981

$6,000

Rodeo Queen by Luis Jimenez

Located in Phoenix, AZ

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Category

1980s Contemporary Figurative Prints

Materials

Lithograph

Luis Alfonso Jimenez
Rodeo Queen by Luis Jimenez, 1981

$13,500

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Coscolina Con Muerto (Flirt With Death)

Located in Phoenix, AZ

Coscolina Con Muerto (Flirt With Death) 1986 Stone Lithograph Edition 35/50 Size: 26.75 x 21 inches Frame size: 44.75 x 39 Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimnez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autnoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimnez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern...

Category