{"title":"Clean Lines and Graphic Vibes","description":null,"products":[{"product_id":"swedish-design-i-ball-bearing-i","title":"Swedish Design, Ball-Bearing","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e The Museum of Modern Art\u003cbr\u003e \u003cstrong\u003eOriginal Limited Edition:\u003c\/strong\u003e 21\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e The Museum of Modern Art Grand Reopening\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 96\" (88.9cm x 243.84cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003eA ball-bearing can do many things. It can keep your lazy susan revolving. It can help your tires turn. Taken out of context and displayed at The Museum of Modern Art in New York, a well-designed bearing can even become art. We have 21 banners featuring the world's first self-aligning ball-bearing by Swedish engineer Sven Wingquist.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eIn the 1920s and 1930s, the so-called \"machine age\", industrial designers were becoming more and more interested in the intersection of form and function. Consumers were also more aware of design, and sought products that looked good and worked well. Swedish designer, Sven Wingquist (1876-1953) had adopted this philosophy decades earlier, even taking it so far as to create machine parts that functioned at a high level while being pleasing to the eye.\u003cbr\u003e\u003cbr\u003e The ball bearing shown on the banner was designed by Wingquist in 1907, and entered The Museum of Modern Art's design collection in 1934. It was one of the first works in that collection. It remains today one of the best examples of innovative industrial design that leads to increased performance as well as pleasing aesthetics. This steel ball bearing is composed of a double layer of balls in a race, or grooved channel. This type of bearing was a newer design that offered better performance and greater efficiency than the usual sliding bearings. The design allowed the bearing to self-align so it could adjust to some misalignment during functioning without disturbing the bearing's performance.\u003cbr\u003e\u003cbr\u003e While the mechanical and functional improvements of this bearing over other bearings of its day are impressive, the most striking element is its simple beauty. This dramatic banner shows the chrome-plated steel bearing to great effect, it's round silver form enlarged and floating on the deep red background. It becomes an art object more than a functional machine part, with the shiny, silver orbs evenly distributed around the steel ring. The image of the ball bearing is greatly enlarged from its original size of 8 1\/2\" in diameter to over 2 feet in diameter. Enlarged and seen out of context, the bearing could easily be perceived as a sculpture or piece of jewelry. \u003cbr\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eBoth sides of this banner are identical.\u003c\/i\u003e\u003c\/b\u003e Above the image in white text are the museum's initials \"MoMA\" and below the image is additional white text that reads\"The Museum of Modern Art\/reopens November 20, 2004\". The logo and name of the sponsor \"JP MorganChase\" is included at the bottom of the banner. The whole of the banner is a deep red color surrounded by a white line that frames the banner and makes it visually float on the wall. Other banners promoting the reopening feature \u003ca href=\"http:\/\/www.betterwall.com\/bnr.php?bid=125\" class=\"regularlink\"\u003ede Chirico's Song of Love\u003c\/a\u003e and \u003ca href=\"http:\/\/www.betterwall.com\/bnr.php?bid=104\" class=\"regularlink\"\u003eCezanne's The Bather\u003c\/a\u003e\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Manhattan to promote The Museum of Modern Art's grand reopening in New York City in 2004. The museum's expansion was designed by Japanese architect Yoshio Taniguchi who was selected after an extensive search, and whose design doubled the museum's size to 630,000 square feet.\u003c\/p\u003e","brand":"BetterWall","offers":[{"title":"Default Title","offer_id":55680583047,"sku":"","price":635.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/swedish-design-iball-bearingi.jpg?v=1524250121"},{"product_id":"daniel-libeskind-denver-art-museum-view-1","title":"Daniel Libeskind \"Denver Art Museum: View 1\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 8\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Grand Opening: Frederic C. Hamilton Building\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eThe Frederic C. Hamilton wing of the Denver Art Museum (DAM) is the first completed US building by world-famous architect Daniel Libeskind. Like any good work of art, the building has not been without controversy, receiving both rave reviews and harsh critiques. But no one can argue with the drama of the building as seen on banners from the museum's grand opening. Two versions of the banner highlight Libeskind's titanium-clad \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/www.denverartmuseum.org\" target='\"_blank\"' style=\"color: #ff9900;\"\u003e\u003ci\u003eDenver Art Museum\u003c\/i\u003e\u003c\/a\u003e\u003c\/span\u003e. The first banner shows an angular outcropping of the building that juts into a clear blue Colorado sky. The second version shows overlapping layers of the building with surfaces glinting in the sun and receding into the shade.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eArchitect Daniel Libeskind's initial vision when designing the Frederic C. Hamilton wing of the Denver Art Museum was to create what he termed a \"spatial dance\" between two lines that fold into and upon one another without ever touching. The realization of this vision in the actual building, his first museum in the U.S., showcases the ways in which he achieved this theoretical goal in a concrete form. The overall shape of the building with its strong angular geometry defies any one definition, and the interior experience of the building can be somewhat disorienting with steep slopes, divergent angles, and tilted walls that trick the eye. \u003cbr\u003e\u003cbr\u003e Paul Goldberger, architectural critic for \u003ci\u003eThe New Yorker\u003c\/i\u003e described the Hamilton wing this way:\u003c\/p\u003e\n\u003cblockquote\u003e\"The Libeskind addition is sheathed in more than nine thousand titanium panels, which are not completely flat, so that as the light bounces off them they seem to ripple gently, as if the building were covered with a thin film of liquid. Since none of the exterior walls are perpendicular to the ground and each surface slopes at a different angle, at any moment the sun strikes each of them differently, making some sections seem richly textured while others appear to have no texture at all.\"\u003c\/blockquote\u003e\nThese banners from the grand opening feature a striking photograph of the museum that shows the daringness of Libeskind's design against a cloudless, blue Colorado sky. The mass of the building is seen as planes of light and dark. The grayish silver of the titanium cladding approaches and recedes in the light, making the building seem almost more an abstract sculpture than a real-world structure. Text in white and lime green reads \"Denver ART Museum\".\u003cbr\u003e\u003cbr\u003e The other side of the banner has a triangular silhouette in two shades of lime green with text in shades of blue and green that reads \"Denver ART Museum\/ARCHITECTURE\".\n\u003ch3\u003e\u003c\/h3\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Denver to promote the October 7, 2006 grand opening of the Frederic C. Hamilton building designed by Daniel Libeskind. Another version of the banner was created highlighting a different image of the building.\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":55680639751,"sku":"","price":479.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/daniel-libeskind-denver-art-museum-view-1.jpg?v=1582418423"},{"product_id":"gilbert-george-death","title":"Gilbert \u0026 George \"Death\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e de Young Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 45\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Gilbert \u0026amp; George\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 72\" (88cm x 182cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eThe 1980s brought us many duos, from Hall \u0026amp; Oates to Joanie \u0026amp; Chachi. Fortunately, it also brought us some fascinating art by the duo of Gilbert \u0026amp; George. 45 banners featuring a detail of \"Life\" from their 1984 work \"Life Death Hope Fear\" are available from their retrospective at the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/deyoung.famsf.org\" target='\"_blank\"' style=\"color: #ff9900;\"\u003e\u003ci\u003ede Young Museum\u003c\/i\u003e \u003c\/a\u003e\u003c\/span\u003e in San Francisco. Rendered in their inimitable style of cartoon brights, self-referential photography, and an almost Renaissance stained-glass aesthetic, the banners showcase their work to full effect. What would life be without death? Also from the Gilbert \u0026amp; George show come 45 banners featuring a detail of \"Death\" from \"Life Death Hope Fear\". While their \"Life\" image sends a message of movement, sound, and energy, the \"Death\" image portrays the two in still poses, expressionless, and motionless. The hothouse colors, however, bloom on both banners making them an incredible pair to hang side-by-side for maximum effect.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eGilbert \u0026amp; George started their career battling the elitism of the art world by declaring themselves to be “living sculptures”. Almost always seen together, the pair donned their now-trademark suits and created projects that were anything but conventional.\u003cbr\u003e\u003cbr\u003e They became known for a particular style of large-scale photo-montage they developed in the early 1980s that overlays a black grid, thick black outlines, and bright hues. The end result resembles stained glass windows. The works often feature the artists themselves along with text, elements from nature, and religious symbolism. They have attracted media attention because of some of the “shocking” imagery they included such as nudity, excrement, and bodily fluids. They do not seek a “shock value” in their works, and maintain that shock value is not something they instill in the work, but something personal that the viewer owns through their reaction to what they see. Ultimately, their works explore modern urban life and the hopes and fears that are part of modern society.\u003cbr\u003e\u003cbr\u003e These banners feature a detail of one of their most ambitious photo-montages, \u003ci\u003eDeath Hope Life Fear\u003c\/i\u003e from 1984. The complete work is made up of four parts, each representing one of the titular themes. On the banner is the central imagery from “Death”. This features the artists clad in their suits and brightly colorized in saturated purples and reds. They grow and shrink in scale, suggesting the cycle of life, death, and rebirth. In the image, they are placed amidst the petals of a rose and a daisy, embraced by the life force of the flowers, but immobile and still in their poses. The duo believe in the concept of “art for all”, not from the sense of accessibility, but in the sense that a work of art is shown, and all viewers can assess it, understand it, and determine for themselves what they think of it.\u003cbr\u003e\u003cbr\u003e The image covers the entire front of the banner. The other side of the banner is red with white text that reads \"de Young\/Gilbert \u0026amp; George\" and features the museum’s distinctive logo. The closing date of the exhibition \"Through May 18\" is printed in black at the bottom of the banner.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around San Francisco to promote the \u003cspan style=\"color: #ff9900;\"\u003ed\u003ca href=\"http:\/\/deyoung.famsf.org\" style=\"color: #ff9900;\"\u003e\u003cspan style=\"color: #ff9900;\"\u003ee Young\u003c\/span\u003e museum\u003c\/a\u003e\u003c\/span\u003e’s retrospective exhibition \u003ci\u003eGilbert \u0026amp; George\u003c\/i\u003e from February 16, 2008 — May 18, 2008. The exhibition was also seen at the Tate Modern, Brooklyn Museum, and Milwaukee Art Museum. Another banner from the exhibition features Gilbert \u0026amp; George's companion work, Life.\u003c\/p\u003e\n\u003cp\u003eAbout the Artist\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/gilbert-george\"\u003eLearn more about Gilbert \u0026amp; George\u003c\/a\u003e\u003c\/p\u003e","brand":"de Young Museum","offers":[{"title":"Default Title","offer_id":55680682759,"sku":"","price":525.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/gilbert-george-death.jpg?v=1582419263"},{"product_id":"ren-0233-magritte-pipe","title":"Rene Magritte \"Pipe\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Los Angeles County Museum of Art\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 75\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Magritte and Contemporary Art: The Treachery of Images\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 96\" (88cm x 243cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eThe exhibition \"Magritte and Contemporary Art: The Treachery of Images\" offered up great works by the Belgian artist in an environment designed to make LACMA visitors part of Magritte's surreal world. It is from one of Magritte's iconic works, \"The Treachery of Images (This is not a pipe)\" that the show took its name. And it is this image that is featured on banners from the exhibition. The simple, cleanly rendered brown pipe has become synonymous with surrealism and the work of René Magritte. Enlarged on these banners, it brings wit, whimsy, and drama to the real world.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eThe work of René Magritte offers up a playful surface with a jab at the mundanity of everyday life. His precise technique and unexpected imagery are a powerful blend, and his works not only mock life’s trivialities but also delve into its darker aspects. Whether he was actively sending a message or merely engaging in his own escapist visions, his works remaining provocative and memorable for viewers to this day.\u003cbr\u003e\u003cbr\u003e During the 1920s, Magritte began to explore the relationship between objects and their names. He felt that language was often completely arbitrary and had nothing to do with any real reason for an object’s given name. By combining words and imagery, he exploited this disconnect with paintings that sought to refute their validity. This is the case with his famous work \u003ci\u003eThe Treachery of Images (This is not a pipe)\u003c\/i\u003e painted in 1929. The work shows a simple, beautifully painted pipe with the words “Ceci n’est pas une pipe” (This is not a pipe) below it. This seemingly straightforward use of an image and words that negate its given name makes for a complex relationship for the viewer. There is a slight discomfort that comes when the obvious and expected is so blatantly flipped on its head. It also calls into question the very nature of art. For centuries artists sought to depict an object with the viewer agreeing to accept the facsimile as the real thing. Here, the artist himself announces that the gig is up – this is not a pipe, it is a painting of a pipe.\u003cbr\u003e\u003cbr\u003e It is this iconic modernist work of Magritte’s that is featured on this banner. On a sky blue background, Magritte’s simple pipe floats. Below the image at the very bottom of the banner, small brown text reads “experience art lacma”. The other side of the banner is brown with white and sky blue letters announcing the exhibition’s title and dates ”Magritte\/and Contemporary Art\/Nov. 19, 2006 – Mar. 4, 2007”.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Los Angeles from November 19, 2006 through March 4, 2007 to promote the exhibition, \u003ci\u003eMagritte and Contemporary Art: The Treachery of Images\u003c\/i\u003e at the Los Angeles County Museum of Art.\u003c\/p\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/rene-magritte\" style=\"color: #ff9900;\"\u003eLearn more about René Magritte\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"LACMA","offers":[{"title":"Default Title","offer_id":55680723399,"sku":"","price":549.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/rene-magritte-pipe.jpg?v=1524250728"},{"product_id":"victor-moscoso-psychedelic-experience","title":"Victor Moscoso \"Psychedelic Experience\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 44\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e The Psychedelic Experience: Rock Posters from the San Francisco Bay Area, 1965-71\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eOn December 9, 1966, the acts Oxford Circle, Lee Michaels, and Big Brother \u0026amp; The Holding Company played at the Avalon Ballroom, a small San Francisco venue. Posters and handbills for the event were designed by local artist Victor Moscoso. At the time, Moscoso was known for his illustrations and comic book art, and his fluid, psychedelic style was recognized and appreciated by trendsetters of the day. His poster for the event was simple in its conception but shows a complexity of execution and understanding of color usage.\u003cbr\u003e\u003cbr\u003e Featuring a top-hatted man with pinwheel spiral eyes, the poster draws upon a very limited color palette of red, blue, and black. This allowed for affordable printing of the posters, and set clearly defined parameters for Moscoso. Within these restrictions, Moscoso unleashed all the dynamism, energy, and excitement of the music and its era. The spirals-as-eyes are repeated in the background in multiples, giving visual movement to the work that is at once disorienting and engaging, lending a three-dimensionality to the poster. Moscoso refers to this use of color as “vibrating”. Colors from opposite ends of the color spectrum, but matched in intensity and value, are placed next to one another. The points where the colors meet disorient the eye, distorting focus and giving the work a sense that the colors are pulsating or vibrating.\u003cbr\u003e\u003cbr\u003e The \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum's\u003c\/a\u003e\u003c\/span\u003e exhibition \u003ci\u003eThe Psychedelic Experience\u003c\/i\u003e showcased these striking posters and the innovative artists who created them. The posters themselves are collectible vintage rock art, occasionally available in original printings, but never before in the large scale reproduction seen on these banners. The banners are available with the exclusive, express permission of the artist, Victor Moscoso and Rhino Records. Moscoso is one of the major psychedelic artists of the 1960s, and was one of \"The Five\" renowned artists of the Family Dog collective.\u003cbr\u003e\u003cbr\u003e Moscoso text is stylized and sized to fit into defined areas, making the text itself convey a sense of energy and movement as part of the design. Above the image is a white area with light blue and red text that reads “The Psychedelic Experience”, and in black “Through July 19”. Below the image is a light blue area with red and black text that reads “Denver Art Museum”. \u003cb\u003e\u003ci\u003eBoth sides of the banner are identical\u003c\/i\u003e\u003c\/b\u003e.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Denver, Colorado from March 21 through July 19 2009 to promote the exhibition \u003ci\u003e The Psychedelic Experience: Rock Posters from the San Francisco Bay Area, 1965-71 \u003c\/i\u003eat the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e.\u003c\/p\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/victor-moscoso\" style=\"color: #ff9900;\"\u003eLearn more about Victor Moscoso\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":55680740679,"sku":"","price":789.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/victor-moscoso-psychedelic-experience.jpg?v=1524250807"},{"product_id":"greene-greene-chair","title":"Greene \u0026 Greene \"Chair\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e The Huntington\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 10\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e A “New and Native” Beauty: The Art and Craft of Greene \u0026amp; Greene\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 96\" (88cm x 243cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003eFrom the Bolton House come upright chairs that call to mind the work of Frank Lloyd Wright, but with a softer edge. Tall vertical lines and tapered forms are solid yet airy, reflecting the overall theme of the home's design. Created by the California-based Greene brothers, the mahogany chair strikes a dramatic pose covering the entire front of 10 banners from \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/www.huntington.org\" target='\"_blank\"' style=\"color: #ff9900;\"\u003e\u003ci\u003eThe Huntington\u003c\/i\u003e\u003c\/a\u003e\u003c\/span\u003e exhibition \"A New and Native Beauty: The Art of Greene \u0026amp; Greene\".\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eThe Arts \u0026amp; Crafts Movement had its roots in England in the late 1880's, but the influence of this burgeoning movement would ultimately be felt all over America, Europe, and even Japan. In other countries many names would be attached to iterations of the style - Art Nouveau, Art Deco, \u003ci\u003eJugendstil\u003c\/i\u003e, Craftsman, Mission - but related tenets were always at its core. These ideas would go on to shape 20th century attitudes towards design, lifestyle, work, and home.\u003cbr\u003e\u003cbr\u003e Starting with the work of William Morris and the writings of John Ruskin in Great Britain, the ideas that came forth were new and bold for their time. The Arts \u0026amp; Crafts ideology viewed fine arts, decorative arts, applied arts, crafts, and architecture as a unified whole, what the German’s dubbed \u003ci\u003egesamtkunstwerk\u003c\/i\u003e. At heart, the movement stemmed from the belief that the hand of the craftsman was being erased by industrialization and mass-production. They instead championed the revival of traditional techniques, and believed that art could and should be a part of everyday life. In each country where these ideas took root, they generated their own specific outcomes based on local cultural needs, yielding clearly identifiable styles. For example, the stylized roses of Charles Rennie Mackintosh in Scotland; the abstract, sinuous curves of Belgians Henry Van de Velde and Victor Horta; or the classic Craftsman bungalow in the US .\u003cbr\u003e\u003cbr\u003e This banner showcases a high-backed hall chair designed by Charles and Henry Greene for the home of Dr. W. T. Bolton for whom the Greenes designed three houses between 1900 and 1906. This mahogany chair is an outstanding example of Arts \u0026amp; Crafts furniture designed to be congruent with the home around it. The long, elegant lines of the chair back are harmonious with the Bolton floor plan which emphasizes a long, narrow rectilinear configuration. The back of the banner is white with a sage green band down the left hand side. Sage green, white, and brown text reads “Huntington\/The Art \u0026amp; Craft of GREENE \u0026amp; GREENE\/Oct. 18, 2008 through Jan 26, 2009”.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Los Angeles from October 18, 2008 through January 26, 2009 to promote the exhibition A “New and Native” Beauty: The Art and Craft of Greene \u0026amp; Greene. It then traveled to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/americanart.si.edu\" style=\"color: #ff9900;\"\u003eSmithsonian American Art Museum’s Renwick Gallery\u003c\/a\u003e\u003c\/span\u003e in Washington, D.C. and the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.mfa.org\" style=\"color: #ff9900;\"\u003eMuseum of Fine Arts, Boston.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/greene-greene\" style=\"color: #ff9900;\"\u003eLearn more about Greene \u0026amp; Greene\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Huntington","offers":[{"title":"Default Title","offer_id":55680758151,"sku":"","price":479.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/greene-greene-chair.jpg?v=1582419214"},{"product_id":"martin-puryear-c-f-a-o","title":"Martin Puryear \"C.F.A.O.\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e San Francisco Museum of Modern Art\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 20\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Martin Puryear\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 72\" (88cm x 182cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eSpeaking of interlocking materials, check out Martin Puryear's sculpture, C.F.A.O. Interestingly, Puryear named this piece after a late 19th century trading company: Compagnie Francaise de l'Afrique Occidentale. Puryear's Peace Corp experience in Sierra Leone, one of the ports of call for the trading company, and his time in France clearly influenced his work. This sculpture suggests themes not only of trade and colonization, but cultural exchange between vastly different societies. Twenty banners from this retrospective at \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.sfmoma.org\" style=\"color: #ff9900;\"\u003eSan Francisco MOMA\u003c\/a\u003e\u003c\/span\u003e are available to bring Post-Minimalism to your space.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eMartin Puryear’s work often blends seemingly disparate cultural, historic and social references resulting in blurred definitions of time and space. The sculpture featured on the banner promoting this exhibition is C.F.A.O. It shares the name of a late 19th century trading company called Compagnie Francaise de l’Afrique Occidentale (The French Company of West Africa). For this sculpture, Puryear drew on his Peace Corp experience in Sierra Leone (1964-6), one of the ports of call for the trading company, and his time in France (1993). This piece suggests themes not only of trade and colonization, but cultural exchange between vastly different societies. \u003cbr\u003e\u003cbr\u003e Puryear is a student of “vernacular cultures,” where people live close to their sources of materials and are motivated to make things for their utilitarian value, not just their artistic beauty. Often defying characterization, Puryear distills his interests in such diverse subjects as ornithology, natural history, architecture and the history of technology. \u003cbr\u003e\u003cbr\u003e C.F.A.O., 2006-7, is made from painted and unpainted pine and mounted on a wheelbarrow Puryear found in Sache, France while studying with Alexander Calder in 1993. The mask is Puryear’s oversized interpretation of the 19th century ceremonial masks used by the Fang tribe of Gabon, West Africa. As a headdress of sorts, the mask is supported by a scaffolding of interlocking pine boards. \u003cbr\u003e\u003cbr\u003e The banner features the sculpture on one side. The opposite side is printed with maroon-brown text: \"SFMOMA\" at the top in an outline box, \"Martin Puryear\" in capital letters (sideways vertical) with \"Nov 8 – Jan 25\" below.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around San Francisco from November 8, 2008 to January 25, 2009 to promote the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.sfmoma.org\" style=\"color: #ff9900;\"\u003eSan Francisco Museum of Modern Art's\u003c\/a\u003e\u003c\/span\u003e exhibition \u003ci\u003eMartin Puryear\u003c\/i\u003e. The exhibit began touring in November of 2007 first at the Museum of Modern Art, followed by the Modern Art Museum of Fort Worth, the National Gallery of Art and finally the San Francisco Museum of Modern Art. The exhibition charted the artist’s career from his first solo show at the Corcoran Gallery of Art in Washington, D.C. in 1977 to the present.\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/martin-puryear\" style=\"color: #ff9900;\"\u003eLearn more about Martin Puryear\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"SFMOMA","offers":[{"title":"Default Title","offer_id":55680776391,"sku":"","price":379.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/martin-puryear-cfao.jpg?v=1524250949"},{"product_id":"sfmoma-75-year-anniversary-colorburst","title":"SFMOMA 75 Year Anniversary \"Colorburst\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e San Francisco Museum of Modern Art\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 15\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e The Anniversary Show\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 72\" (88cm x 182cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eHappy Birthday to \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.sfmoma.org\" style=\"color: #ff9900;\"\u003eSFMOMA\u003c\/a\u003e\u003c\/span\u003e--75 years young this year. The first West Coast museum to focus exclusively on modern and contemporary art, SFMOMA continues to challenge conventional wisdom of what art museums collect and exhibit. It was here in 1945 that Jackson Pollack held his first solo museum exhibition. The museum was also one of the first to recognize photography as a fine art. Bring a colorburst reminder of what it means to be an internationally acclaimed pioneer in modern and contemporary art with one of 15 banners in your creative space.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eOn January 18, 2010, \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.sfmoma.org\" style=\"color: #ff9900;\"\u003eSFMOMA\u003c\/a\u003e\u003c\/span\u003e became 75 years young, continuing its tradition of championing both the modern art masters as well as less established contemporary artists. \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.sfmoma.org\" style=\"color: #ff9900;\"\u003eSFMOMA\u003c\/a\u003e\u003c\/span\u003e was the first West Coast museum to focus exclusively on modern and contemporary art, and continually challenges conventional wisdom of what an art museum should collect and exhibit. \u003cbr\u003e\u003cbr\u003e \u003ci\u003eThe Anniversary Show\u003c\/i\u003e features more than 400 works from the museum’s collection; these works represent “moments when the history of the museum has intersected meaningfully with the history of art.” Artists such as Leslie Shows, Jackson Pollock, Jeff Koons, David Park, Richard Diebenkorn, and Barry McKee are represented in the exhibit. \u003cbr\u003e\u003cbr\u003e Both sides of the banner sport a colorful starburst design with “75 YEARS OF LOOKING FORWARD” written in white in the center. On the front of the banner, the SFMOMA logo sits at the bottom in white, and on the back, it is replaced by the Koret Foundation logo in white.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were placed around San Francisco starting December 19, 2009 until approximately July 2010.\u003c\/p\u003e","brand":"SFMOMA","offers":[{"title":"Default Title","offer_id":55680779271,"sku":"","price":415.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/sfmoma-75-year-anniversary-colorburst.jpg?v=1524250958"},{"product_id":"david-smith-cubi-i","title":"David Smith \"Cubi I\"","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Los Angeles County Museum of Art\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 25\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e David Smith: Cubes and Anarchy\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 35\" x 96\" (88cm x 243cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003e“They’re all girls,” said David Smith of his large-scale metal geometric sculptures in the open field near his home in Bolton Landing, NY. It’s not that they were all feminine, rather, many were rugged and raw. But they were his ‘girls,’ arranged and rearranged by the artist to challenge and provoke each other. \u003cbr\u003e\u003cbr\u003e The field was also a playground of sorts for his two daughters who were encouraged to climb and bang their fists on the steel of the sculptures while they picked berries or tromped through the snow. Many of the sculptures that once lived on the New York field have found their way into museums and private collections around the world. LACMA presented \u003ci\u003eDavid Smith: Cubes and Anarchy\u003c\/i\u003e, the largest gathering of Smith’s \u003ci\u003eCubis \u003c\/i\u003eand \u003ci\u003eZigs\u003c\/i\u003e in more than 25 years.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eLACMA’s exhibition of more than 100 David Smith sculptures, paintings, drawings, and photographs was the first major thematic exhibition of the artist’s work. Smith created numerous series of sculptures throughout his career, and this exhibition assembled a large grouping of two series, the \u003ci\u003eZigs\u003c\/i\u003e and \u003ci\u003eCubis\u003c\/i\u003e. \u003ci\u003eCubes and Anarchy\u003c\/i\u003e was installed at LACMA’s Resnick Pavilion with white walls and translucent white scrim dividers to mimic a snowy day on Smith’s Bolten Landing, NY field where his sculptures often caught their first light. \u003cbr\u003e\u003cbr\u003e Smith created 28 \u003ci\u003eCubis\u003c\/i\u003ein total, each a large-scale geometric stainless steel sculpture that was burnished with a circular sander to create a highly reflective surface. He intended for these sculptures to be installed outside where the ever changing sky could reflect and add nuance to the sculpture. The \u003ci\u003eCubis\u003c\/i\u003ewere Smith’s main body of work between 1961 and 1965, leading up to his untimely death in a car accident at the age of 59. \u003cbr\u003e\u003cbr\u003e All of Smith’s other sculpture series are number sequentially, but he broke that mold with the \u003ci\u003eCubis\u003c\/i\u003e. The first two \u003ci\u003eCubis\u003c\/i\u003ewere IX and III, made in October and November 1961. \u003ci\u003eCubis I\u003c\/i\u003e, the sculpture featured on the banner used to promote the exhibition, was done in 1932. Some art historians have speculated that \u003ci\u003eCubis I\u003c\/i\u003e is the mother of all \u003ci\u003eCubis\u003c\/i\u003e, the great abstract fertility figure with the diamond as her belly and the ascending cubes as breasts, shoulder, and head. \u003ci\u003eCubis I\u003c\/i\u003e is owned by the Detroit Institute of Art. \u003cbr\u003e\u003cbr\u003e \u003ci\u003eCubis I\u003c\/i\u003e, as photographed by Smith himself, appears on the front of the banner with the LACMA logo and “Wilshire at Fairfax” beneath in white letters. The back of the banner reads “David Smith\/Cubes and Anarchy” in sideways vertical red letters on the same cloudy gray sky background overlooking Smith’s sculpture field from the front of the banner with the exhibition dates “April 3-July 24, 2011” at the bottom.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThis banner was displayed around Los Angeles between April 3, 2011 and July 24, 2011. The exhibition then traveled to \u003ca href=\"https:\/\/wexarts.org\"\u003e\u003cspan style=\"color: #ff9900;\"\u003e Wexner Center for the Arts \u003c\/span\u003e\u003c\/a\u003ewhere it was on view from January 28 to April 15, 2012.\u003c\/p\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/david-smith\" style=\"color: #ff9900;\"\u003eLearn more about David Smith\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"LACMA","offers":[{"title":"Default Title","offer_id":55680823815,"sku":"","price":425.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/david-smith-cubi-i.jpg?v=1582418485"},{"product_id":"tom-wesselmann-seascape-22","title":"Tom Wesselmann - Seascape 22","description":"\u003cp\u003e\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e\u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 74\u003cbr\u003e\u003cstrong\u003eExhibition:\u003c\/strong\u003e Beyond Pop Art: A Tom Wesselmann Retrospective\u003cbr\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76 x 226cm)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eBesides being a leading figure in the Pop Art movement (ah yes, he disliked that label for its overemphasis on the materials used), Tom Wesselmann was a fan of country music. He wrote over 400 songs, including “I Love Doing Texas With You,” which was included on the soundtrack for the 2005 Academy Award-winning film, Brokeback Mountain. The Denver Art Museum’s \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/denverartmuseum.org\/exhibitions\/beyond-pop-art-tom-wesselmann-retrospective\" style=\"color: #ff9900;\"\u003eBeyond Pop Art: A Tom Wesselmann Retrospective\u003c\/a\u003e\u003c\/span\u003e explored the artist’s connection to country music as part of his four decade artistic career. The banner used to promote the exhibition featured Seascape #22 painted in 1967.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/denverartmuseum.org\/exhibitions\/beyond-pop-art-tom-wesselmann-retrospective\" style=\"color: #ff9900;\"\u003eBeyond Pop Art: A Tom Wesselmann Retrospective\u003c\/a\u003e\u003c\/span\u003e surveyed Tom Wesselmann’s work chronologically beginning with his abstract collages as he fought off a preoccupation with the work of Willem de Kooning, through his best known Great American Nude series, iconic Pop art still life series, steel cut drawings, and sunset nudes. With 100 works, including preliminary drawings, maquettes, and archival documents, the exhibition allowed a glimpse into Wesselmann’s creative process. His female figures and Pop Art works are replete with American symbols, including images of U.S. presidents, flags and stars, and canned goods. \u003cbr\u003e\u003cbr\u003eWesselmann was known to work long hours exclusively in his New York studio, but in 1966, he was invited to Cape Cod, Massachusetts. Inspired by sunbathing women on the beach, he experimented with the female form by zeroing in on a foot, shaping canvasses, and creating Drop-Outs whereby negative space might accentuate a breast. \u003ci\u003eSeascape #22\u003c\/i\u003e was born following this rare, yet influential, \"vacation\" and exemplifies Wesselmann’s movement towards large formats and blown up body parts framed by beach scenery. He made numerous studies in Cape Cod, and back in New York used a projector to enlarge them. \u003ci\u003eSeascape #22\u003c\/i\u003e is oil on shaped canvas and measures nearly eight by five feet \u003cbr\u003e\u003cbr\u003e\"Beyond Pop Art\" appears at the top of the banner and \"A Tom Wesselmann Retrospective\" below \u003ci\u003eSeascape #22\u003c\/i\u003e, both in red capital letters. The Denver Art Museum logo is on a red background at the bottom. \u003cb\u003eBoth sides of the banner are identical\u003c\/b\u003e.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThis banner was displayed around the Denver area between July 13 and September 31, 2014. The exhibition began at the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.mbam.qc.ca\/en\/\" style=\"color: #ff9900;\"\u003eMontreal Museum of Fine Arts\u003c\/a\u003e\u003c\/span\u003e, traveled to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.vmfa.museum\" style=\"color: #ff9900;\"\u003eVirginia Museum of Fine Arts\u003c\/a\u003e\u003c\/span\u003e and then the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e, and continued on to the\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.cincinnatiartmuseum.org\" style=\"color: #ff9900;\"\u003e Cincinnati Art Museum.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"color: #000000;\"\u003eAbout the Artist\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/tom-wesselmann\" style=\"color: #ff9900;\"\u003eLearn more about Tom Wesselmann\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":55680847687,"sku":"","price":499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/tom-wesselmann-seascape-22.jpg?v=1524251265"},{"product_id":"female-dancer","title":"Female Dancer","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 9\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Rhythm \u0026amp; Roots: Dance in America\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eRhythm \u0026amp; Roots: Dance in American Art brought movement to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e, which, like most museums, usually celebrates stationary fine art. This exhibition explored the evolution of dance in America from 1830 to 1960. One of the items exhibited was Anna Pavlova’s tutu from her signature ballet, The Dying Swan, which she performed 4,000 times. “Get my ‘swan” costume ready” were the dancer’s last words in 1931 and a ‘performance’ was held the next day as the music played and a light shown on an empty stage. The Russian dancer visited the U.S. in 1910, deeply influencing future generations of American ballet lovers with her passion and grace. The prima ballerina’s tutu, one of only two known, was unique to the Denver Art Museum’s portion of the traveling exhibition.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eThe Denver Arts Museum’s exhibition, Rhythm \u0026amp; Roots: Dance in American Art, examined America’s distinct dance traditions as they developed and crossed paths. Featuring more than 90 paintings, photographs, sculptures and costumes, the exhibition was divided into four parts (Roots, Rhythm, Stage, and Collaboration) by its curator, Angelica Daneo, to provide a sociological and historical context. \u003cbr\u003e\u003cbr\u003e It explored many dance forms, including the sacred dances of the Native Americans and the “swing” culture developed in Harlem nightclubs. It showed how dance moved from the private to the public stage, and club dancing and performance became the subject of much art. Featured were paintings of iconic American dancers such as Katherine Dunham, Isadora Duncan as well as the Spanish dancer Carmencita Dauset Moreno (the first woman to appear in a U.S. motion picture filmed by Thomas Edison); a bust of American dancer Josephine Baker who won the hearts of Parisians; and posters designed by world-renowned graphic designers, John Sorbie who founded the graphic arts department at Colorado State University and Phil Risbeck who later joined the department. Famous artists such as William H. Johnson, John Singer Sargent, Franz Kline, and Max Webber were included alongside lesser known artists. \u003cbr\u003e\u003cbr\u003e The Collaborations section of the exhibition examined the joint efforts of artists, dancers, and choreographers. It included a reinvention of Silver Clouds, an Andy Warhol installation in which people could interact with silver mylar balloons floating around a room. In 1966, when Silver Clouds was originally installed at the Leo Castelli Gallery in New York, it challenged the idea that art was something to be viewed, not touched. This inspired many of Warhol’s contemporaries, including the dramatic dance choreographer, Merce Cunningham, who choreographed RainForest around the work. A video of Rainforest, which featured dancers wearing Jasper Johns costumes, was projected within the exhibition’s Silver Clouds installation. In addition to the galleries of art, the exhibition integrated video and music spaces to inspire movement and bring dance to life. The DanceLab, for example, was an interactive video installation where museum goers could follow step-by-step choreographed movements and see themselves in action projected on a large screen. \u003cbr\u003e\u003cbr\u003e The Denver Art Museum created a series of three banners to promote the exhibition in the Denver area. The first two banners are related, both with an orange and yellow background and a vibrant dancer covering the banner with “Denver Art Museum” in white at the bottom. Banner 1 shows a purple female dancer wearing a white bodiced-costume that transitions to a bold magenta and white skirt. With arms spread wide and heels kicked high, she appears to be airborne against an orange-yellow background with yellow web-like lines that merge with concentric circles. \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/products\/male-dancer\" title=\"Banner 2 presents a male dancer\" style=\"color: #ff9900;\"\u003eBanner 2 presents a male dancer\u003c\/a\u003e\u003c\/span\u003e in purple with a white shirt also in full dance swing against a yellow-orange background with yellow star-like lines. \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/products\/summer-of-dance\" title=\"Banner 3 nicely coordinates with the dancer banners\" style=\"color: #ff9900;\"\u003eBanner 3 nicely coordinates with the dancer banners\u003c\/a\u003e\u003c\/span\u003e with its purple, magenta, and line-imagery background. The words “SUMMER OF DANCE!” appear sideways vertical with “Denver Art Museum” at the bottom horizontally, all in white.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThis banner was displayed around the Denver area between July 10 and October 2, 2016. The traveling exhibition began at the Detroit Institute of the Arts, and after the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e, was on view at the Crystal Bridges Museum of American Art in Bentonville, Arkansas.\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":55680854599,"sku":"","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/female-dancer.jpg?v=1582419020"},{"product_id":"male-dancer","title":"Male Dancer","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 9\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Rhythm \u0026amp; Roots: Dance in America\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003e Rhythm \u0026amp; Roots: Dance in American Art brought movement to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e, which, like most museums, usually celebrates stationary fine art. This exhibition explored the evolution of dance in America from 1830 to 1960. One of the items exhibited was Anna Pavlova’s tutu from her signature ballet, The Dying Swan, which she performed 4,000 times. “Get my ‘swan” costume ready” were the dancer’s last words in 1931 and a ‘performance’ was held the next day as the music played and a light shown on an empty stage. The Russian dancer visited the U.S. in 1910, deeply influencing future generations of American ballet lovers with her passion and grace. The prima ballerina’s tutu, one of only two known, was unique to the Denver Art Museum’s portion of the traveling exhibition.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eThe Denver Arts Museum’s exhibition, Rhythm \u0026amp; Roots: Dance in American Art, examined America’s distinct dance traditions as they developed and crossed paths. Featuring more than 90 paintings, photographs, sculptures and costumes, the exhibition was divided into four parts (Roots, Rhythm, Stage, and Collaboration) by its curator, Angelica Daneo, to provide a sociological and historical context. \u003cbr\u003e\u003cbr\u003e It explored many dance forms, including the sacred dances of the Native Americans and the “swing” culture developed in Harlem nightclubs. It showed how dance moved from the private to the public stage, and club dancing and performance became the subject of much art. Featured were paintings of iconic American dancers such as Katherine Dunham, Isadora Duncan as well as the Spanish dancer Carmencita Dauset Moreno (the first woman to appear in a U.S. motion picture filmed by Thomas Edison); a bust of American dancer Josephine Baker who won the hearts of Parisians; and posters designed by world-renowned graphic designers, John Sorbie who founded the graphic arts department at Colorado State University and Phil Risbeck who later joined the department. Famous artists such as William H. Johnson, John Singer Sargent, Franz Kline, and Max Webber were included alongside lesser known artists. \u003cbr\u003e\u003cbr\u003e The Collaborations section of the exhibition examined the joint efforts of artists, dancers, and choreographers. It included a reinvention of Silver Clouds, an Andy Warhol installation in which people could interact with silver mylar balloons floating around a room. In 1966, when Silver Clouds was originally installed at the Leo Castelli Gallery in New York, it challenged the idea that art was something to be viewed, not touched. This inspired many of Warhol’s contemporaries, including the dramatic dance choreographer, Merce Cunningham, who choreographed RainForest around the work. A video of Rainforest, which featured dancers wearing Jasper Johns costumes, was projected within the exhibition’s Silver Clouds installation. In addition to the galleries of art, the exhibition integrated video and music spaces to inspire movement and bring dance to life. The DanceLab, for example, was an interactive video installation where museum goers could follow step-by-step choreographed movements and see themselves in action projected on a large screen. \u003cbr\u003e\u003cbr\u003e The Denver Art Museum created a series of three banners to promote the exhibition in the Denver area. The first two banners are related, both with an orange and yellow background and a vibrant dancer covering the banner with “Denver Art Museum” in white at the bottom. \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/products\/female-dancer\" style=\"color: #ff9900;\"\u003eBanner 1 shows a purple female dancer\u003c\/a\u003e\u003c\/span\u003e wearing a white bodiced-costume that transitions to a bold magenta and white skirt. With arms spread wide and heels kicked high, she appears to be airborne against an orange-yellow background with yellow web-like lines that merge with concentric circles. Banner 2 presents a male dancer in purple with a white shirt also in full dance swing against a yellow-orange background with yellow star-like lines. \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/products\/summer-of-dance\" style=\"color: #ff9900;\"\u003eBanner 3 nicely coordinates with the dancer banners\u003c\/a\u003e\u003c\/span\u003e with its purple, magenta, and line-imagery background. The words “SUMMER OF DANCE!” appear sideways vertical with “Denver Art Museum” at the bottom horizontally, all in white.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThis banner was displayed around the Denver area between July 10 and October 2, 2016. The traveling exhibition began at the Detroit Institute of the Arts, and after the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e, was on view at the Crystal Bridges Museum of American Art in Bentonville, Arkansas\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":55680860935,"sku":"","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/male-dancer.jpg?v=1524251296"},{"product_id":"the-western","title":"The Western","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e \u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 12\u003cbr\u003e \u003cstrong\u003eExhibition:\u003c\/strong\u003e Denver Art Museum’s The Western: An Epic in Art and Film Exhibit.\u003cbr\u003e \u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e \u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226.cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003eThe Western: An Epic in Art and Film is the first major exhibition to examine the Western genre and its evolution from the mid-1800s to the present through fine art, film, and popular culture. Featuring 160 works, the exhibition explores gender roles, race relations, and gun violence—offering a visual journey that is about more than cowboys, bandits, and barroom brawls.\u003cbr\u003e\u003cbr\u003eThe West is synonymous with the romantic, large-scale paintings of Frederic Remington and Albert Bierstadt. It also materializes in the works of contemporary artists like Ed Ruscha and Kent Monkman, and the films of John Ford and Sergio Leone.\u003c\/p\u003e\n\u003cp\u003eThis banner was designed in-house at the Denver Art Museum and was inspired by the iconic imagery of the movie High Noon. It depicts the silhouette of a cowboy against a western landscape, casting a long, late day shadow. \u003cstrong\u003eBoth sides of the banner are identical. \u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eThese banners were displayed around Denver, Colorado during 2017 to promote the\u003cspan style=\"color: #ff9900;\"\u003e \u003ca href=\"https:\/\/denverartmuseum.org\/exhibitions\/western-epic-art-and-film\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color: #ff9900;\"\u003eDenver Art Museum’s The Western: An Epic in Art and Film Exhibit.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":5698235662371,"sku":"","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/DAM_The_Western.jpg?v=1524620945"},{"product_id":"joan-miro-woman-bird-and-star","title":"Joan Miró \"Woman, Bird, and Star (Homage to Picasso)\"","description":"\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e\u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 12\u003cbr\u003e\u003cstrong\u003eExhibition:\u003c\/strong\u003e \u003cem\u003eJoan Miró: Instinct \u0026amp; Imagination\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed 2-ply vinyl\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSummary\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen Joan Miró left Spain for Paris in 1920, he took a cake for Pablo Picasso. Besides both being artists of Spanish descent, their mothers were friends. At 27, Miró was ready to meet the older artist he so admired. He asked Picasso’s mother if she’d like to send anything to her son. A cake it was, and Miró’s delivery forged a lasting relationship. Picasso served as mentor, introducing Miró to the Parisian art community, and as brother in opposition to the rise of fascism during the Spanish Civil War. One of the banners used to promote the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e’s exhibition, \u003cem\u003eJoan Miró: Instinct \u0026amp; Imagination,\u003c\/em\u003e featured Miró’s painting, \u003cem\u003eWoman, Bird, and Star (Homage to Picasso).\u003c\/em\u003e   \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJoan Miró: Instinct \u0026amp; Imagination\u003c\/em\u003e featured more than 50 works created in the last two decades of the artist’s life, between 1963 and 1981. A very prolific artist who died at 90, Miró suffered no decline in creativity with age. At 82, he said, “It’s the young people who interest me, and not the old dodos.” The exhibition’s paintings, drawings and sculpture belong to the Museo Nacional Centro de Arte Reina Sofia in Madrid, which organized the exhibition with the Seattle Art Museum.\u003c\/p\u003e\n\u003cp\u003eWith bold color and playful energy, Miró’s work is rich with symbols: female forms for fertility and earthly presence, birds for imagination and poetry, and stars for the cosmos and unlimited possibilities. Many of his inventive sculptural forms were assembled with objects – wooden spoons, rocks, gourds -- found on the beach near his home in Majorca, Spain. Though it may seem common today, Miró was one of the first artists to assemble found pieces to create new sculptural objects.\u003c\/p\u003e\n\u003cp\u003eDenver Art Museum curator, Gwen Chanzit, cleverly installed Miró’s paintings and drawings with his sculpture, playing on common elements and themes. The exhibition started with the painting, \u003cem\u003eWoman, Bird, and Star (Homage to Picasso) \u003c\/em\u003eand was displayed with\u003cem\u003e Figure\u003c\/em\u003e, a lost wax casting in bronze. Both whimsical single figures with a bird element and protrusions from the head, the two pieces seemed to be in close conversation as they ‘welcomed’ guests to the exhibition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWoman, Bird, and Star (Homage to Pablo Picasso)\u003c\/em\u003e \u003c\/strong\u003eappeared on one of two banners used to promote the exhibition. Miró began the painting in 1966 but called it complete by signing it on the day Picasso died in 1973. It is quintessential Miró with fine lines and organic shapes in deep red, black, blue, green, and orange on a white background with an asterisk-like star. The image is framed on the banner with a bright green top and bottom border. The artist’s signature (with “Miró stars” dotting the “j” and “i”) and “Instinct \u0026amp; Imagination” are in the top border and “March 22-June 28\/Denver Art Museum” appear at the bottom.\u003c\/p\u003e\n\u003cp\u003eThe painting, \u003ca href=\"https:\/\/betterwall.com\/products\/joan-miro-entranced-by-the-escape-of-shooting-stars\"\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003cem\u003eEntranced by the Escape of Shooting Stars\u003c\/em\u003e, was featured on the second banner\u003c\/span\u003e.\u003c\/a\u003e An intense use of flat black acrylic on white boldly creates tension between an abstract female figure of the human world and her gesticulating arms suggestive of flight and escape to the celestial world. The image is framed similarly on the banner, but with a light blue top and bottom border.\u003c\/p\u003e\n\u003cp\u003eThis banner is identical on front and back.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance  \u003c\/strong\u003e\u003cbr\u003eThis banner was displayed around the Denver area between March 22, 2015 and June 28, 2015. The exhibition traveled from the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/www.seattleartmuseum.org\" style=\"color: #ff9900;\"\u003eSeattle Art Museum\u003c\/a\u003e\u003c\/span\u003e to Denver, and then returned to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"museo%20nacional%20centro%20de%20arte%20reina%20sof%C3%ADa\" style=\"color: #ff9900;\"\u003eMuseo Nacional Centro de Arte Reina Sofia\u003c\/a\u003e\u003c\/span\u003e in Madrid.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/joan-miro\" style=\"color: #ff9900;\"\u003eLearn more about Joan Miró\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":6990420148259,"sku":"","price":485.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/joan-miro-woman-bird-and-star-homage-to-picasso.jpg?v=1524251315"},{"product_id":"joan-miro-entranced-by-the-escape-of-shooting-stars","title":"Joan Miró \"Entranced by the Escape of Shooting Stars\"","description":"\u003cp\u003e\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum \u003cbr\u003e\u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 12 \u003cbr\u003e\u003cstrong\u003eExhibition:\u003c\/strong\u003e Joan Miró: Instinct \u0026amp; Imagination \u003cbr\u003e\u003cstrong\u003eMaterial\u003c\/strong\u003e: Printed 2-ply vinyl \u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\u003cem\u003eHanging Hardware Included\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eSummary\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWhen Joan Miró left Spain for Paris in 1920, he took a cake for Pablo Picasso. Besides both being artists of Spanish descent, their mothers were friends. At 27, Miró was ready to meet the older artist he so admired. He asked Picasso’s mother if she’d like to send anything to her son. A cake it was, and Miró’s delivery forged a lasting relationship. Picasso served as mentor, introducing Miró to the Parisian art community, and as brother in opposition to the rise of fascism during the Spanish Civil War. One of the banners used to promote the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/denverartmuseum.org\" style=\"color: #ff9900;\"\u003eDenver Art Museum\u003c\/a\u003e\u003c\/span\u003e’s exhibition, \u003cem\u003eJoan Miró: Instinct \u0026amp; Imagination,\u003c\/em\u003e featured Miró’s painting, \u003cem\u003eWoman, Bird, and Star (Homage to Picasso).\u003c\/em\u003e   \u003c\/p\u003e\n\u003ch3\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eJoan Miró: Instinct \u0026amp; Imagination\u003c\/em\u003e featured more than 50 works created in the last two decades of the artist’s life, between 1963 and 1981. A very prolific artist who died at 90, Miró suffered no decline in creativity with age. At 82, he said, “It’s the young people who interest me, and not the old dodos.” The exhibition’s paintings, drawings and sculpture belong to the Museo Nacional Centro de Arte Reina Sofia in Madrid, which organized the exhibition with the Seattle Art Museum.\u003c\/p\u003e\n\u003cp\u003eWith bold color and playful energy, Miró’s work is rich with symbols: female forms for fertility and earthly presence, birds for imagination and poetry, and stars for the cosmos and unlimited possibilities. Many of his inventive sculptural forms were assembled with objects – wooden spoons, rocks, gourds -- found on the beach near his home in Majorca, Spain. Though it may seem common today, Miró was one of the first artists to assemble found pieces to create new sculptural objects.\u003c\/p\u003e\n\u003cp\u003eDenver Art Museum curator, Gwen Chanzit, cleverly installed Miró’s paintings and drawings with his sculpture, playing on common elements and themes. The exhibition started with the painting, \u003cem\u003eWoman, Bird, and Star (Homage to Picasso) \u003c\/em\u003eand was displayed with\u003cem\u003e Figure\u003c\/em\u003e, a lost wax casting in bronze. Both whimsical single figures with a bird element and protrusions from the head, the two pieces seemed to be in close conversation as they ‘welcomed’ guests to the exhibition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe painting, \u003cem\u003eEntranced by the Escape of Shooting Stars\u003c\/em\u003e, was featured on one of two banners\u003c\/strong\u003e. An intense use of flat black acrylic on white boldly creates tension between an abstract female figure of the human world and her gesticulating arms suggestive of flight and escape to the celestial world. The image is framed similarly on the banner, but with a light blue top and bottom border. \u003cspan\u003eThis banner is identical on front and back.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/products\/joan-miro-woman-bird-and-star\" style=\"color: #ff9900;\"\u003e\u003cem\u003eWoman, Bird, and Star (Homage to Pablo Picasso)\u003c\/em\u003e appeared on the second of two banners used to promote the exhibition\u003c\/a\u003e\u003c\/span\u003e. Miró began the painting in 1966 but called it complete by signing it on the day Picasso died in 1973. It is quintessential Miró with fine lines and organic shapes in deep red, black, blue, green, and orange on a white background with an asterisk-like star. The image is framed on the banner with a bright green top and bottom border. The artist’s signature (with “Miró stars” dotting the “j” and “i”) and “Instinct \u0026amp; Imagination” are in the top border and “March 22-June 28\/Denver Art Museum” appear at the bottom. This banner is identical on front and back.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance  \u003c\/strong\u003e\u003cbr\u003eThis banner was displayed around the Denver area between March 22, 2015 and June 28, 2015. The exhibition traveled from the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"http:\/\/www.seattleartmuseum.org\" style=\"color: #ff9900;\"\u003eSeattle Art Museum\u003c\/a\u003e\u003c\/span\u003e to Denver, and then returned to the \u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/www.museoreinasofia.es\/en\" style=\"color: #ff9900;\"\u003eMuseo Nacional Centro de Arte Reina Sofia\u003c\/a\u003e\u003c\/span\u003e in Madrid.\u003c\/p\u003e\n\u003ch3\u003eAbout the Artist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff9900;\"\u003e\u003ca href=\"https:\/\/betterwall.com\/collections\/joan-miro\" style=\"color: #ff9900;\"\u003eLearn more about Joan Miró\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":6990483750947,"sku":"","price":485.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/products\/joan-miro-entranced-by-the-escape-of-shooting-stars.jpg?v=1524251323"},{"product_id":"dam-new-logo","title":"Denver Art Museum Brand Refresh","description":"\u003cstrong\u003eFrom:\u003c\/strong\u003e Denver Art Museum\u003cbr\u003e\u003cstrong\u003eLimited Edition:\u003c\/strong\u003e 15\u003cbr\u003e\u003cb\u003eExhibition: \u003c\/b\u003eNot Applicable\u003cbr\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Printed vinyl\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 30\" x 89\" (76cm x 226cm)\u003cbr\u003e\n\u003cp\u003e\u003ci\u003eHanging Hardware Included\u003c\/i\u003e\u003c\/p\u003e\n\u003ch3\u003eSummary\u003c\/h3\u003e\n\u003cp\u003eMarketing professionals and graphic designers are tasked with using both language and visual cues like typeface, color, and other elements to convey the distinct \"personality\" of a company or organization, commonly known as \"Branding\" or \"Brand Identity\". While construction workers at The Denver Art Museum (DAM) were busy giving the campus a long-awaited \"glow up\", the marketing team got to work updating its brand identity from the last iteration (which was 20-years old), to reflect its evolving persona.\u003c\/p\u003e\n\u003ch3\u003eDescription\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003eThe launch of the new look was intended to coincide with the opening of the newly renovated North Building and new Welcome Center, but with construction delays due to Covid-19 they moved forward to launch the refreshed identity in September 2020. \u003cbr\u003e\u003cbr\u003eThe DAM stuck with a \"wordmark\" approach where a logo consists of words only designed in a particular typeface, rather than incorporating a graphic. The new mark focuses on the word \"art\" depicted in large lowercase letters, contrasted with the word \"Denver\" in smaller uppercase letters tucked in close at the top and \"Museum\" also in uppercase letters running the width of the words to balance it out. The result is a brand that helps convey a \"welcoming, approachable, and inspiring environment\".\u003cbr\u003e\u003cbr\u003eThese eye-catching banners popped up on light poles around the city in 2020 boasting the sculpture-like titanium-clad Daniel Libeskind designed Frederic C. Hamilton Building, with the word Denver Art Museum showcased prominently in white text. The text and image are set against a gradation of vivid rainbow colors that served to brighten the streets during a bleak time, giving viewers an exciting peek toward the future when they could safely enjoy the newly renovated sections of the museum. The new spaces opened on October, 24 2021. Both sides of the banner are identical.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e \u003cbr\u003eThese banners were displayed around Denver in 2020 and 2021 to promote their new brand in anticipation of the grand re-opening of the North Building, now known as the Martin Building and the newly built Sie Welcome Center. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eThe banners were designed in-house at the Denver Art Museum.\u003c\/p\u003e","brand":"Denver Art Museum","offers":[{"title":"Default Title","offer_id":41130995187782,"sku":null,"price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2143\/7567\/files\/DAMColorfulLibskindExteriorWEB.jpg?v=1708989700"}],"url":"https:\/\/betterwall.com\/collections\/colorful.oembed?page=2","provider":"BetterWall","version":"1.0","type":"link"}