Loveweed

$ 921

Weight1 kg
Upcoming :

Coming Soon

Edition size :

99

Dimensions :

54 cm x 38 cm (21.26 in. x 14.96 in.)

Paper :

BFK Rives 300 g.

Technique :

1-color lithograph printed with Voirin lithographic press, hand cut.

Co-edition :

with galerie frank elbaz

Signature :

Stamped by the Estate of Wallace Berman, numbered and stamped by our publishing house.

Year :

2023

Price :

CHF 850 (≈ USD 980, exclusive of VAT)

Collection :

Lithographs

Price :

No prices available for the moment

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Featuring the image of the iconic poster “Loveweed”, this limited-edition realized with the Estate of Wallace Berman makes the rarefied piece dated 1963 more widely accessible.

Characteristic of the artist’s life philosophy, this work is as much a manifesto for weed than a manifesto for freedom. In the 1960s, especially on the West Coast, pot was a huge issue and people in America and elsewhere were given prison sentences for having or selling it.

As a fervent social Libertarian, Berman didn’t believe that there should be drug laws of any sort not because he was pro-drug, but rather because he clearly didn’t think the law was best to solve issues of narcotic usage.
This poster was distributed in California by the artist himself, both in artistic contexts and anonymously—the latter being of great appeal to Berman.
Weight1 kg
Upcoming :

Coming Soon

Edition size :

99

Dimensions :

54 cm x 38 cm (21.26 in. x 14.96 in.)

Paper :

BFK Rives 300 g.

Technique :

1-color lithograph printed with Voirin lithographic press, hand cut.

Co-edition :

with galerie frank elbaz

Signature :

Stamped by the Estate of Wallace Berman, numbered and stamped by our publishing house.

Year :

2023

Price :

CHF 850 (≈ USD 980, exclusive of VAT)

Collection :

Lithographs

Price :

No prices available for the moment

PRINT PDF

Wallace Berman

Wallace Berman (February 18, 1926–February 18, 1976) is a crucial figure in the history of post-war American art and an icon of the California Beat movement. His personality and multifaceted body of work (collages, photography, graphic design, drawing, sculptures, and film) deeply influenced several generations of artists. His practice resonates with jazz, Jewish mysticism, and poetry that accompanied and inspired his work. According to Dennis Hopper, “he affected and influenced everybody seriously involved in the arts in Los Angeles in the 1950s. If there was a guru, he was it—the high priest, the holyman, the rabbi.” Walters Hopps recalled “his magical touch of wit.” Between 1953 and 1965, his small house on Crater Lane (Los Angeles) was the center of a community of artists : it was in his living room that the seeds for Semina Culture were sown, following the title of his famous journal Semina (1955–1964).

With his “Verifax collages,” record covers, Polaroid transfers, art and poetry journal, and filmmaking, Berman was among the first artists to appropriate mass, popular, and advertising imagery. His use of appropriation and his keen critique of the Modernist ideal of originality places him alongside the first generation of Pop artists as a major innovator. He was among the first Los Angeles-based artists who developed the potential of the photograph as an object that could be used as raw material for making art.

During his lifetime, Wallace Berman notably exhibited at the Ferus Gallery, Los Angeles (1957), and the Los Angeles Museum of Art and the Jewish Museum, New York (1968). His work has been shown in major surveys at the Camden Art Center, London (2008), the MAMCO Geneva (2000), the Institute of Contemporary Art, Amsterdam (1992), the Whitney Museum of American Art, New York (1978), and the Otis Art Institute, Los Angeles (1978).

 

Text and image: courtesy of the Estate of Wallace Berman and Kohn Gallery, Los Angeles

Collection

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