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John SaltJohn Salt-Arrested Vehicle with Red Seats- HAND SIGNED1972
1972
About the Item
Signed in pencil by Salt. From the 1972 limited edition portfolio entitled "Radical Realism I", published by Mother Lode Editions and Hundred Acres Gallery. The complete portfolio included the following prints: 'Bacchanal' by John Clem Clarke, 'Cafeteria' by Richard Estes, 'Paul's Corner' by Ralph Goings, 'Native Dancer' by Richard McLean, and 'Rhine Chateau' by Malcolm Morley.
- Creator:John Salt (1937, British)
- Creation Year:1972
- Dimensions:Height: 20 in (50.8 cm)Width: 28.5 in (72.39 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:All items are available for review on weekdays from Monday to Friday, 10am-5pm and by appointment only on weekends. Our office and warehouse are located in historical DUMBO area in Brooklyn, steps from the Brooklyn and Manhattan Bridge.
- Gallery Location:Brooklyn, NY
- Reference Number:
John Salt
John Salt (b. 1937 - ) is an English artist, whose greatly detailed paintings from the late 1960s onwards made him one of the pioneers of the photorealist school. Although Salt's work has developed through several distinct phases, it has generally focused on images of cars, often shown wrecked or abandoned within a suburban or semi-rural American landscape, with the banality and dishevelment of the subject matter contrasting with the immaculate and meticulous nature of the work's execution. His father was a motor repair garage owner, whose stepfather in turn had been a signwriter painting stripes on the bodies of cars. As a young boy Salt was encouraged to draw and paint, and at the age of fifteen he gained admittance to the Birmingham School of Art, where he studied from 1952 to 1958. He studied at numerous other well-known art schools in England and the US, influenced by the work of English artist Prunella Clough and American Pop Art figures such as Robert Rauschenberg. Salt sought a more distinct artistic identity and was encouraged to explore a wide variety of styles and techniques, ultimately leading to and interest in photographers Garry Winogrand and Lee Friedlander, and how their documentary style relieved them of the self-conscious need to adopt an artistic technique.
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