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152

KAWS

Untitled (KAWSBOB for the Aldrich); KAWSBOB (Black); and KAWSBOB (Red)

$15,000–20,000
Live 24 June, 1:00 PM ET
2011
Three screenprints in colors, on Rives BFK paper, the full sheets.
all S. 20 x 20 in. (50.8 x 50.8 cm)
All signed, dated and numbered 23/100 in pencil (there were also 20 artist's proofs), KAWSBOB for the Aldrich published by the Aldrich Contemporary Art Museum, Ridgefield, Connecticut, on the occasion of the exhibition KAWS, June 27, 2010 - January 2, 2011, KAWSBOB (Black) published by The Modern Art Museum of Fort Worth, Texas, on the occasion of the exhibition Focus: KAWS, December 11, 2011 - February 19, 2012, KAWSBOB (Red) published by KAWS, Inc., New York, all framed.

KAWS

American | 1974

To understand the work of KAWS is to understand his roots in the skateboard and graffiti crews of New York City. Brian Donnelly chose KAWS as his moniker to tag city streets beginning in the 1990s, and quickly became a celebrated standout in the scene. Having swapped spray paint for explorations in fine art spanning sculpture, painting and collage, KAWS has maintained a fascination with classic cartoons, including Garfield, SpongeBob SquarePants and The Simpsons, and reconfigured familiar subjects into a world of fantasy. 

Perhaps he is most known for his larger-than-life fiberglass sculptures that supplant the body of Mickey Mouse onto KAWS' own imagined creatures, often with 'x'-ed out eyes or ultra-animated features. However, KAWS also works frequently in neon and vivid paint, adding animation and depth to contemporary paintings filled with approachable imagination. There is mass appeal to KAWS, who exhibits globally and most frequently in Asia, Europe and the United States.  

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