CRASH, ‘Green Frustration’, 1997, Print, Screenprint in colors with glitter on aluminum, Heritage Auctions
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CRASH

Green Frustration, 1997

Screenprint in colors with glitter on aluminum
40 × 28 × 2 in
101.6 × 71.1 × 5.1 cm
Edition 1/12
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
HA
Heritage Auctions

Condition Report: Mild surface soil; mild scattered scratches. Unframed.

Medium
Signature
Signed and dated in ink lower right, with signature, numbering, and date verso
Image rights
Courtesy of Heritage Auctions
CRASH
American, b. 1961
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Coming of age in the Bronx in the 1960s and ’70s, John “Crash” Matos first picked up a can of spray paint at the age of 13 to cut his teeth as a graffiti artist by “bombing” the subway trains in the New York City rail yards. He has not stopped since. His bold, blocky signature—CRASH—greeted subway riders in the 1970s and ’80s, New York’s economically dire, artistically fertile days. By the 1980s, with the embrace of his work by galleries and at the urging of his friend and contemporary, Keith Haring, Crash was translating his explosive outdoor murals to the canvas’s more contained plane. He remains busy with commissions and collaborations, claiming that his future holds “more work, more painting, more strats, more walls, more lobsters, more steaks…in other words more living to do.”

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CRASH, ‘Green Frustration’, 1997, Print, Screenprint in colors with glitter on aluminum, Heritage Auctions
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Save
Save
Share
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HA
Heritage Auctions

Condition Report: Mild surface soil; mild scattered scratches. Unframed.

Medium
Signature
Signed and dated in ink lower right, with signature, numbering, and date verso
Image rights
Courtesy of Heritage Auctions
CRASH
American, b. 1961
Follow

Coming of age in the Bronx in the 1960s and ’70s, John “Crash” Matos first picked up a can of spray paint at the age of 13 to cut his teeth as a graffiti artist by “bombing” the subway trains in the New York City rail yards. He has not stopped since. His bold, blocky signature—CRASH—greeted subway riders in the 1970s and ’80s, New York’s economically dire, artistically fertile days. By the 1980s, with the embrace of his work by galleries and at the urging of his friend and contemporary, Keith Haring, Crash was translating his explosive outdoor murals to the canvas’s more contained plane. He remains busy with commissions and collaborations, claiming that his future holds “more work, more painting, more strats, more walls, more lobsters, more steaks…in other words more living to do.”

CRASH

Green Frustration, 1997

Screenprint in colors with glitter on aluminum
40 × 28 × 2 in
101.6 × 71.1 × 5.1 cm
Edition 1/12
Bidding closed
Want to sell a work by this artist? Consign with Artsy.