Robin Rile

Keith Haring (American, 1958-199)Untitled (from Pop Shop I), 1987Screenprint in colors on wove paper Image: 10⅜ × 13½ in (26.4 × 34.3 cm)Sheet: 12 × 15 in (30.5 × 38.1 cm)Framed: approx. 25 × 20 in (63.5 × 50.8 cm) Signed, dated, and numbered in pencil (edition of 200)Published by the artist, New York PRICE:

A sincere thank you to Professor Maria Cudowska and the Syracuse University College of Law for inviting me back to speak, this time on the intersection of Art, AI, and National Security. I went in thinking I’d be sharing a few “notes from the field,” but left realizing I may have learned just as much

Was Banksy really unmasked? And perhaps the more important question: what do we lose as a society by doing so? I should begin with a confession. I was a journalism student in college. I understand the impulse to break a story. Journalists are, by nature, professional curiosity machines. Give us a mystery and we will

Few artists reshaped the visual language of the twentieth century as decisively as Roy Lichtenstein. Alongside figures like Andy Warhol and Claes Oldenburg, Lichtenstein helped define the Pop Art movement of the early 1960s by transforming imagery from mass culture—comic books, advertising, and popular illustration—into large-scale fine art. But while his paintings often command the

Spanish painter Pablo Segarra Chías belongs to the long tradition of figurative artists working in Seville, a city whose artistic heritage stretches from the Baroque masters of the Spanish Golden Age to the luminous painters of the modern Andalusian school. Born in Seville in 1945, Chías developed a refined painting technique rooted in classical draftsmanship

Jose ROYO (Spanish, b. 1941) Cesta de flores, 2010-2011 Oil on canvas 39.4” x 39.4” (100 x 100cm) From Valencia Studio, unframed. Photocertificate of authenticity from Jose Royo himself List Price: $50,000. OUR Price: on request (but MUCH less!) Painted circa 2010–2011, this work belongs to José Royo’s mature period, when his painting achieved its most lyrical balance between impressionistic brushwork

Every so often, something lands in front of me that refuses to sit comfortably inside the market’s neat categories. It isn’t fake.It isn’t pristine.It simply doesn’t behave. This one began in 2000 at the Rivington Street pop-ups in East London — exhibitions in the loosest sense of the word. Unmarked doors. Word-of-mouth invites. Art priced