Here at Barnebys, we love to help out seasoned buyers as well as introducing collectors at the very start of their journey. Check out Barnebys Artspace favourites, don't forget to click on the work to discover more.

Joan Miró’s 1969 lithograph Le Magnétiseur Orange evokes references of archaic, primitive stone carving and cave paintings. Printed on bright orange Rives paper, Miró’s figure juxtaposes the earliest art-making by man with Modernism’s attempt to break free from tradition and find new, radical imagery and modes of representation.

JASPER JOHNS "Jasper Johns (Corpse and Mirror, 1978)," Margo Leavin Gallery, Los Angeles, 1978 JASPER JOHNS "Jasper Johns (Corpse and Mirror, 1978)," Margo Leavin Gallery, Los Angeles, 1978

At the forefront of postwar art, Jasper Johns changed the way we look at and think about how images are made and are visually consumed. His early work was termed “Neo-Dada” by critics for its irreverence and eager incorporation of two- and three-dimensional elements. He is also often cited as a significant influence on Pop Art for his use of recognisable imagery such as the American flag, targets, and maps.

In the 1970's and 1980's his works shifted to subtle patterns of crosshatched red, yellow, and blue stripes were found in deceptively simple paintings.

Japanese artist Takashi Murakami's work is immediately recognisable for its vibrant, candy-like colours and anime-esque aesthetic. Murakami is truly the heir to Warhol's Pop Art legacy as he possesses the ability to appropriate commercial, popular images inspired by anime and manga into high-quality pieces of fine art.

Murakami's work is highly informed by the Japanese art-historical tradition, he founded the postmodern art movement "Superflat," which combines the graphic practices of contemporary Japanese culture with the flattening print and painting traditions of its rich past.

In this 1965 screenprint by American Pop artist Tom Wesselmann, from the eleven-piece portfolio 11 Pop Artists, Volume III, the flat pictorial plane is juxtaposed with a dense image placed within the confines of a television set. The cartoonish nature of the surrounding space highlights the dark, grainy quality of the television image—a contrast that is both absurd and disconcerting.

In Absent, Tony Oursler explores the fragmentation of both the physical form and the psyche. The artist is fascinated with how psychological conditions like Multiple Personality Disorder can be translated into a physical reality. Using fragmented images of eyes and a mouth, Oursler recreates a face from the separated parts, adding an abstract element to the work. This particular acrylic on paper work is a sketch for one of Oursler's best known projection sculptures.

With a background in photojournalism and cinematography, artist Massimo Vitali photographs people at leisure in his home country of Italy. In Sarakiniko #4561 the artist has documented a breathtaking landscape populated by people sunbathing and swimming. Interested in capturing how people behave and act in their most human moments, Vitali believes images of people at leisure offer insight into mass tourism, conformity, and sex.

Like many of Marilyn Minter's most recognisable photographs, this work employs the artist’s signature juxtaposition of sweat, mud, smeared makeup with the symbolic images of red lips, high heels and jewels. Emphasising her interest in capturing imperfections, the artist says of her work "everybody's makeup runs...I'm interested in that part when things start falling apart."

This rich work by renowned German painter Gerhard Richter captures the fluidity of colour in a moment of chemical interaction. Created in collaboration with Heni Productions as part of a series of limited edition prints, Haggadah (P2) is based on the 2006 Richter painting of the same name. The title refers to an ancient Jewish text, which outlines instructions for Passover.

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