CRASH, ‘Hommage to Lichtenstein ’, 2002, End to End Gallery
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CRASH

Hommage to Lichtenstein , 2002

Hand Embellished Serigraph on Canvas
40 × 30 in
101.6 × 76.2 cm
.
Sold
Location
Hollywood
Want to sell a work by this artist? Consign with Artsy.
About the work
Provenance
End to End Gallery
Hollywood

Published by Art Link International who used to represent Crash. The main edition was never …

Medium
Condition
Excellent Condition
Signature
Hand-signed by artist
Frame
Included
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, ‘Hommage to Lichtenstein ’, 2002, End to End Gallery
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Save
Save
View
View in room
Share
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About the work
Provenance
End to End Gallery
Hollywood

Published by Art Link International who used to represent Crash. The main edition was never produced, only a limited run of 10 AP's embellished on Canvas.

Medium
Condition
Excellent Condition
Signature
Hand-signed by artist
Frame
Included
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

Hommage to Lichtenstein , 2002

Hand Embellished Serigraph on Canvas
40 × 30 in
101.6 × 76.2 cm
.
Sold
Location
Hollywood
Want to sell a work by this artist? Consign with Artsy.
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