Kaws (1974) - Lost Time
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Lost Time is a limited edition silkscreen on Saunders Waterford paper, 81 by 136 cm, from 2018, hand-signed, edition 12/100, in excellent condition, originating from the United States and rooted in Contemporary Pop.
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Description from the seller
Technique: Screen print
Support: Saunders Waterford paper
Numbering: 12/100
Signature: Signed by hand
Dimensions: 81x136 cm
Condition: Very good condition
Authentication: Sold with certificate of authenticity. Published by Pace print.
Information about the work:
There are artists whose visual immediacy masks the complexity of their position in the history of forms. KAWS — Brian Donnelly — belongs to this paradoxical category: immediately recognizable, universally disseminated, difficult to place precisely within the critical continuum of modern and contemporary art.
His work originates at the crossroads of several territories: New York graffiti of the 1990s, mass visual culture, the heritage of American Pop Art. Where Warhol transformed media imagery into a surface of critique, where Lichtenstein translated comics into a pictorial language, KAWS hybridizes and absorbs.
The figures he develops — massive bodies, eyes crossed out with a cross, derived from preexisting characters — belong to an iconographic mutation. Mickey, The Simpsons, the Smurfs cease to be recognizable citations: they become recomposed archetypes, emptied of narrative function, reinserted into a purely plastic regime. Circulating forms, freed from any stable origin.
The tension between artistic production and market logic lies at the heart of his practice. Since the 2000s, KAWS has collaborated with brands, produced licensed objects, disseminated his figures through non-institutional circuits. This permeability between art and design is structural. He operates within consumer culture, adopting its codes of diffusion and desire with cold lucidity.
His monumental sculptures, installed in public space or floating on water, produce an immediacy of affect rather than transcendence. The spectator recognizes a familiar presence, almost empathic — and yet something resists. KAWS figures are closed in on themselves, eyes crossed out, withdrawn from view precisely because they seem to offer themselves. Contemporary melancholy in a particular way: hyper-visibility as a form of opacity.
Long kept at a distance by critics due to his commercial success, KAWS occupies a symptomatic position of our present — that of an artist whose work is inseparable from his modes of diffusion, for whom the boundary between work, object, and image gradually disappears. This indeterminacy is the key to his reception.
A lucid operator of contemporary visual culture. That is what he is.
Seller's Story
Galerie Dobkine is a contemporary signature in the secondary art market.
Located with two spaces in the heart of the historic district of Paris, we offer a selective range of works by French and international artists, chosen for the relevance of their approach and the strength of their market value. The gallery advocates a cross-disciplinary vision of taste, blending aesthetic rigor, market intelligence, and curatorial intuition.
Through a detailed understanding of the challenges of the secondary market, we support seasoned collectors, enlightened amateurs, or young buyers in building their collections, combining rigor, attentive listening, and a sense of advice.
Each of our works is carefully selected and meticulously verified to guarantee quality and authenticity.
Selling is above all a commitment; it is the promise of a work of art that lives up to your expectations.
More than sales, we want to build a trusting relationship with our clients.
We consider that satisfying you is the only way to continue existing.
Translated by Google TranslateTechnique: Screen print
Support: Saunders Waterford paper
Numbering: 12/100
Signature: Signed by hand
Dimensions: 81x136 cm
Condition: Very good condition
Authentication: Sold with certificate of authenticity. Published by Pace print.
Information about the work:
There are artists whose visual immediacy masks the complexity of their position in the history of forms. KAWS — Brian Donnelly — belongs to this paradoxical category: immediately recognizable, universally disseminated, difficult to place precisely within the critical continuum of modern and contemporary art.
His work originates at the crossroads of several territories: New York graffiti of the 1990s, mass visual culture, the heritage of American Pop Art. Where Warhol transformed media imagery into a surface of critique, where Lichtenstein translated comics into a pictorial language, KAWS hybridizes and absorbs.
The figures he develops — massive bodies, eyes crossed out with a cross, derived from preexisting characters — belong to an iconographic mutation. Mickey, The Simpsons, the Smurfs cease to be recognizable citations: they become recomposed archetypes, emptied of narrative function, reinserted into a purely plastic regime. Circulating forms, freed from any stable origin.
The tension between artistic production and market logic lies at the heart of his practice. Since the 2000s, KAWS has collaborated with brands, produced licensed objects, disseminated his figures through non-institutional circuits. This permeability between art and design is structural. He operates within consumer culture, adopting its codes of diffusion and desire with cold lucidity.
His monumental sculptures, installed in public space or floating on water, produce an immediacy of affect rather than transcendence. The spectator recognizes a familiar presence, almost empathic — and yet something resists. KAWS figures are closed in on themselves, eyes crossed out, withdrawn from view precisely because they seem to offer themselves. Contemporary melancholy in a particular way: hyper-visibility as a form of opacity.
Long kept at a distance by critics due to his commercial success, KAWS occupies a symptomatic position of our present — that of an artist whose work is inseparable from his modes of diffusion, for whom the boundary between work, object, and image gradually disappears. This indeterminacy is the key to his reception.
A lucid operator of contemporary visual culture. That is what he is.
Seller's Story
Galerie Dobkine is a contemporary signature in the secondary art market.
Located with two spaces in the heart of the historic district of Paris, we offer a selective range of works by French and international artists, chosen for the relevance of their approach and the strength of their market value. The gallery advocates a cross-disciplinary vision of taste, blending aesthetic rigor, market intelligence, and curatorial intuition.
Through a detailed understanding of the challenges of the secondary market, we support seasoned collectors, enlightened amateurs, or young buyers in building their collections, combining rigor, attentive listening, and a sense of advice.
Each of our works is carefully selected and meticulously verified to guarantee quality and authenticity.
Selling is above all a commitment; it is the promise of a work of art that lives up to your expectations.
More than sales, we want to build a trusting relationship with our clients.
We consider that satisfying you is the only way to continue existing.
Translated by Google TranslateDetails
Artist
Kaws (1974)
Sold by
Gallery
Edition
Limited edition
Edition number
12/100
Title of artwork
Lost Time
Technique
Silkscreen
Signature
Hand signed
Country of origin
United States
Year
2018
Condition
Excellent condition
Height
81 cm
Width
136 cm
Depiction/theme
Pop Culture
Style
Contemporary
Period
2010-2020
Sold with frame
No
Sold by
