Richard Hambleton Untitled (Shadow Man) 2002
RICHARD A. HAMBLETON (1954-) USA
Untitled (Shadow Man) 2002
Acrylic on paper
Signed: “RHambleton 02”
For more information see: Artists Observed, photographs by Harvey Stein, preface by Corness Capa, essay by Elaine A. King (New York: Harry N. Abrams, Inc., Publishers, 1986), p. 121; Capured: A film/video history of the Lower East Side, Clayton Patterson (New York: Seven Stories Press, 2005), p. 149, 301 and 530; New, Used & Improved: Art for the 80’s, Peter Frank (New York: Abbeville Press, 1987), 46-48, 50-51 and 60.
Framed: H: 32 5/16” x W: 26 13/16”
*** By repute this portrait painting was of Jean-Michel Basquiat.
Hambleton can handle paint. When he throws white or black on the canvas, his waves break, his rodeo rider bucks, a man shot seems blown apart. – Michael Brenson, New York Times, March 30, 1984
During the 1970s, a loosely woven network of aspiring artists made a break into the public venue by raising graffiti to a new level of significance. Richard Hambleton was among a growing number of artists who came to be known as “illegal street artists.” He seemed undaunted by the consequences of being perceived as deviant and moved in and out of the urban alleyways, leaving behind a wake of paper paste-ups, freehand drawings, photos and stenciled images. When Hambleton moved from Vancouver in 1980 he left behind several hundred life-size diazo prints of himself plastered all over the city. Upon his relocation to New York, Hambleton was often spotted with friends that included Jean-Michel Basquiat and Keith Herring. He continued painting his energized, life-size figures that earned him the label pop-expressionist, a parody on modernity’s generic expressionism.
TIM LIDDY (b. 1963) Missouri
Tim Liddy, “Learn to Design” Kit with Charles and Ray Eame, Presented by Herman Miller Furniture Company, Zeeland, Michigan, Set pieces are moulded by Zenith Plastics Co., Gardena, California
Signed: Tim Liddy (red circle), To Everyone at HD! 2012
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.
JEFFREY HARTMAN USA
Oil on canvas
Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)
Framed H: 26 1/2” x W: 18 1/2”
Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.