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Ready-Aim, 1970
By Larry Rivers
Screenprint •
Signed •
49cm
x
70cm
SKU: LR-72686-s
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Attaching a singularly defining label to Larry Rivers has remained an elusive task for many who have tried to contextualize his over 50-year contribution to the arts.
Rivers was an accomplished Jazz musician, a painter, sculptor, poet, actor, television personality, filmmaker, an MC at nightclubs, a popular personality on the lecture circuit, author and teacher. He’s been aptly referred to as 'a renaissance man', but perhaps he’s most often recognized and ironically at times equally underappreciated as one of, if not the key, founding fathers of Pop Art.
Andy Warhol never made it a secret that he was influenced by Rivers art, but in perhaps a more revealing quote from the book 'Popism', Warhol recognizes Rivers unique persona as an influential ingredient in the development of Pop Art. Warhol said, “Larry’s painting style was unique – it wasn’t Abstract Expressionism and it wasn’t Pop, it fell into the period in between. But his personality was very Pop.”
Rivers was an accomplished Jazz musician, a painter, sculptor, poet, actor, television personality, filmmaker, an MC at nightclubs, a popular personality on the lecture circuit, author and teacher. He’s been aptly referred to as 'a renaissance man', but perhaps he’s most often recognized and ironically at times equally underappreciated as one of, if not the key, founding fathers of Pop Art.
Andy Warhol never made it a secret that he was influenced by Rivers art, but in perhaps a more revealing quote from the book 'Popism', Warhol recognizes Rivers unique persona as an influential ingredient in the development of Pop Art. Warhol said, “Larry’s painting style was unique – it wasn’t Abstract Expressionism and it wasn’t Pop, it fell into the period in between. But his personality was very Pop.”
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About the work
About the Work
Signed and numbered from an edition of 150.
Centrefold as issued.
From the series of twelve serigraph prints by Post-Abstract Expressionist, Larry Rivers. The Boston Massacre (1970), juxtaposes historical events that occurred two hundred years apart to re-examine the pursuit of civil liberties and personal freedom.
Rivers loads his images with post-modern tension, simultaneously celebrating and undermining the iconic historical imagery that is his subject. Redcoats painted pink, erotically suggestive bayonets, and crossed-out codpieces all draw attention to Rivers’ immersion in 1970s gay camp, in addition to other social concerns of his time, including the civil rights struggle and Vietnam. Rivers looked to the famous engraving, The Bloody Massacre Perpetrated in King Street, March 5, 1770, by silversmith Paul Revere.
Stamped K 7565 verso.
Centrefold as issued.
From the series of twelve serigraph prints by Post-Abstract Expressionist, Larry Rivers. The Boston Massacre (1970), juxtaposes historical events that occurred two hundred years apart to re-examine the pursuit of civil liberties and personal freedom.
Rivers loads his images with post-modern tension, simultaneously celebrating and undermining the iconic historical imagery that is his subject. Redcoats painted pink, erotically suggestive bayonets, and crossed-out codpieces all draw attention to Rivers’ immersion in 1970s gay camp, in addition to other social concerns of his time, including the civil rights struggle and Vietnam. Rivers looked to the famous engraving, The Bloody Massacre Perpetrated in King Street, March 5, 1770, by silversmith Paul Revere.
Stamped K 7565 verso.
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