Ben Vautier (1935) - The artist is a joker





€70 | ||
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€65 | ||
€60 | ||
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Ben Vautier, The artist is a joker, a 1977 limited edition silkscreen on paper, hand signed, 28 × 21 cm, produced in Italy by Bolaffi Arte Torino with numbered edition and publisher’s embossed stamp authentication; frame not included.
Description from the seller
Ben Vautier - The artist is a joker
Year: 1977
Hand signed, silk-screen, artwork with relief
Bolaffi Arte Torino edition
Numbered
Publisher’s embossed stamp authentication.
Frame not included.
Size: 28 x 21 cm
Ben Vautier’s textual and conceptual art inherently echoes the rebellious spirits of Picasso, Dalí, Warhol, and Banksy by constantly questioning the true definition of art itself. Much like Pablo Picasso, Vautier uses sharp wit to shatter conventional aesthetics, while his embrace of the absurd and the subconscious mirrors the surrealist provocations of Salvador Dalí. Furthermore, his critique of commercialism and democratization of art aligns perfectly with Andy Warhol’s Pop Art philosophy, just as his use of public text and direct, thought-provoking statements anticipates the subversive street-art commentary of Banksy. Ultimately, Vautier shares a common thread with these masters: utilizing irony and subversion to prove that art is not just an object to be admired, but a conceptual playground meant to disrupt the status quo.
Ben Vautier - The artist is a joker
Year: 1977
Hand signed, silk-screen, artwork with relief
Bolaffi Arte Torino edition
Numbered
Publisher’s embossed stamp authentication.
Frame not included.
Size: 28 x 21 cm
Ben Vautier’s textual and conceptual art inherently echoes the rebellious spirits of Picasso, Dalí, Warhol, and Banksy by constantly questioning the true definition of art itself. Much like Pablo Picasso, Vautier uses sharp wit to shatter conventional aesthetics, while his embrace of the absurd and the subconscious mirrors the surrealist provocations of Salvador Dalí. Furthermore, his critique of commercialism and democratization of art aligns perfectly with Andy Warhol’s Pop Art philosophy, just as his use of public text and direct, thought-provoking statements anticipates the subversive street-art commentary of Banksy. Ultimately, Vautier shares a common thread with these masters: utilizing irony and subversion to prove that art is not just an object to be admired, but a conceptual playground meant to disrupt the status quo.

