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Deborah Kass

Nobody Puts Baby in the Corner; and Enough Already, 2009 and 2014

Two screenprints in colors, on Museum Board, the full sheets
Edition of 40 + 10AP
This is part of a limited edition set.
Bidding closed
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About the work
P
Phillips

Baby Sheet: 19 7/8 x 19 7/8 in. (50.5 x 50.5 cm)
Enough Sheet: 16 x 22 1/4 in. (40.6 x 56.5 cm)
Both …

Read more

Baby Sheet: 19 7/8 x 19 7/8 in. (50.5 x 50.5 cm)
Enough Sheet: 16 x 22 1/4 in. (40.6 x 56.5 cm)
Both framed

Signature
Both signed and numbered on the reverse (from the edition of 40 and 10 artist's proofs)
Publisher
Lococo Fine Art, St. Louis, Enough to benefit Visual AIDS, New York
Deborah Kass
American, b. 1952
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Walking the line between respectful homage and brazen appropriation, Deborah Kass mimics and reworks the signature styles of some of the 20th century’s most iconic male artists—including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha—in her bold, meticulous paintings. “They’re my daddies,” she has said, in witty acknowledgment of her indebtedness to her male antecedents. Kass’s alterations of their work in her own paintings are both bitingly funny formal interventions and keenly critical commentary on the historically dominant position of male artists. Feminism is central to her approach. As she explains: “It is about my desire to be part of what they’re a part of. […] I think the desire was ambition and greatness. For women of my age, it was still not very cool to be overtly ambitious.”

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Save
share
Share
Save
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share
Share
About the work
P
Phillips

Baby Sheet: 19 7/8 x 19 7/8 in. (50.5 x 50.5 cm)
Enough Sheet: 16 x 22 1/4 in. (40.6 x 56.5 cm)
Both …

Read more

Baby Sheet: 19 7/8 x 19 7/8 in. (50.5 x 50.5 cm)
Enough Sheet: 16 x 22 1/4 in. (40.6 x 56.5 cm)
Both framed

Signature
Both signed and numbered on the reverse (from the edition of 40 and 10 artist's proofs)
Publisher
Lococo Fine Art, St. Louis, Enough to benefit Visual AIDS, New York
Deborah Kass
American, b. 1952
Follow

Walking the line between respectful homage and brazen appropriation, Deborah Kass mimics and reworks the signature styles of some of the 20th century’s most iconic male artists—including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha—in her bold, meticulous paintings. “They’re my daddies,” she has said, in witty acknowledgment of her indebtedness to her male antecedents. Kass’s alterations of their work in her own paintings are both bitingly funny formal interventions and keenly critical commentary on the historically dominant position of male artists. Feminism is central to her approach. As she explains: “It is about my desire to be part of what they’re a part of. […] I think the desire was ambition and greatness. For women of my age, it was still not very cool to be overtly ambitious.”

Deborah Kass

Nobody Puts Baby in the Corner; and Enough Already, 2009 and 2014

Two screenprints in colors, on Museum Board, the full sheets
Edition of 40 + 10AP
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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