Richard Stankiewicz
Untitled, 1973
Lithograph on rag paper. SIGNED, dated and numbered. Out of the New York Collection for Stockholm Portfolio, a portfolio of seventeen screenprints, nine lithographs, two lithographs with screenprint, one photocopy, and one photograph.
12h x 9w in
30.48h x 22.86w cm
36/300
$ 500
Lithograph on rag paper. SIGNED, dated and numbered. Out of the New York Collection for Stockholm Portfolio, a portfolio of seventeen screenprints, nine lithographs, two lithographs with screenprint, one photocopy, and one photograph.
In the early 1970s, the Moderna Museet in Stockholm wanted to build a collection centered around works made by contemporary American artists. Working with New York-based group Experiments in Art and Technology (E.A.T.), the museum selected 30 pieces in a variety of media by some of New York’s most important young artists. In an effort to help raise the necessary funds for these acquisitions, the Moderna and E.A.T. created The New York Collection for Stockholm Portfolio. In an edition of 300, this portfolio was composed of a print made be each artist slated for the museum’s collection. The complete portfolio features works by the following artists: Lee Bontecou, Robert Breer, John Chamberlain, Walter de Maria, Jim Dine, Mark di Suvero, Öyvind Fahlström, Dan Flavin, Red Grooms, Hans Haacke, Alex Hay, Donald Judd, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Robert Morris, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Larry Rivers, James Rosenquist, George Segal, Richard Serra, Keith Sonnier, Richard Stankiewicz, Cy Twombly, Andy Warhol and Robert Whitman.
Richard Stankiewicz (1922–1983) was an American sculptor recognized as one of the pioneers of "junk art" and assemblage. Composed of welded pipes, nuts, bolts, screws, clockworks and other junkyard scraps, Stankiewicz’s carefully ordered sculptural compositions both respect the fragmentary, arbitrary character of their materials as well as transform them. Beginning in the 1950s with roots in the work of Jean Tinguely, Dubuffet, Duchamp and other such predecessors, the artist’s “junk” aesthetic moved from the whimsical to forbidding and then in the 1970s into hard-edge abstractions.