The Only Hope

144.00

Silkscreen on paper, signed and numbered in original by the artist. Limited edition in 100 works in all the world. 35×35 cm

Suggestive work by Mark Kostabi The Only Hope is an original signed and numbered screen-print.

Mark Kostabi in his works represents faceless, timeless figures, who can represent all of us and express the fear of man in society, but also a language and universal messages.

The human figure portrayed by Mark Kostabi recalls in the absence of face and details the mannequins of Giorgio De Chirico, as well as the landscapes which are often direct quotes from the master of Metaphysics.

Suggestive work by Mark Kostabi The Only Hope is an original signed and numbered screen-print.

Mark Kostabi in his works represents faceless, timeless figures, who can represent all of us and express the fear of man in society, but also a language and universal messages.

The human figure portrayed by Mark Kostabi recalls in the absence of face and details the mannequins of Giorgio De Chirico, as well as the landscapes which are often direct quotes from the master of Metaphysics.

Dimensions 35 × 35 cm

The artwork

Mark kostabi in his works represents figures without face, without time, which can represent all of us and express the fear of the man in society, but also a universal language and messages.

In this silkscreen on paper in 100 works in the world, the artist represents a man and a woman tenderly holding a child in their arms. She holds in her hands a small world: the artist wants to communicate the message that young people represent the future of humanity. The work is signed and numbered in original by the artist and it is provided with the certificate of authenticity.

Additional information

SKU KOSM-100419-08
Technique Screen Printing
Edition 100 works in the world
Support Paper
Width 35 cm
Height 35 cm
SKU: KOSM-100419-08 Category:

Mark Kostabi was born from a family of Estonian immigrants in California. In 1982 he moved to New York where he became an important point of reference within the artistic movement of the East Village. In these years Kostabi begins his climb to success, in which he imposes himself as a provocative and controversial figure by publishing self-interviews about the theme of commodification of contemporary art.

From the mid-90s he divides his life between New York and Rome, where he becomes a model for many Italian artists. The Italian tradition of the great Masters’ workshop art with Andy Warhol’s American philosophy lay the foundations for the birth of the neo-Renaissance studio called Kostabi World in New York.

In his paintings there are some constants, such as the reference to metaphysics: works on canvas, watercolors and sculptures by the American artist often feature faceless and timeless figures that recall Giorgio De Chirico and his mannequins. These characters express the fear of the man in the society but also a universal language

Kostabi’s art has been also appreciated by the critics: personal exhibitions have been set up all over the world and his works are in the permanent collections of important museums such as the MoMa in New York or the Groningen museum in the Netherlands. In Italy we can admire the sculpture To See Through is Not to See Into in the city of San Benedetto del Tronto and its fresco painted in 1988 inside the Palazzo dei Priori in Arezzo.

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