bstooks
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Posts • 39
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April 2014
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Cleon Peterson Artwork, VALUATION, by bstooks on Dec 19, 2016 15:02:33 GMT 1, Can anyone tell me what this Cleon Peterson print is worth. Any info you have about it would be appreciated, I bought it from cs editions on their online shop(was it printed by CS edition??? Or someone else??). I have never seen one of these for sale so I was curious. It's an edition of 42.
Can anyone tell me what this Cleon Peterson print is worth. Any info you have about it would be appreciated, I bought it from cs editions on their online shop(was it printed by CS edition??? Or someone else??). I have never seen one of these for sale so I was curious. It's an edition of 42.
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mattpeen
New Member
Posts • 5
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February 2017
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Cleon Peterson Artwork, VALUATION, by mattpeen on Feb 26, 2017 16:18:14 GMT 1, Have cleon peterson - occupation set of 4 from POW, signed and numbered, approx 45 x 45cm each. could anyone help me with current value? appreciate the help
free png image
Have cleon peterson - occupation set of 4 from POW, signed and numbered, approx 45 x 45cm each. could anyone help me with current value? appreciate the help free png image
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fonebone45
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Posts • 343
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August 2014
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Cleon Peterson Artwork, VALUATION, by fonebone45 on Oct 6, 2017 18:00:57 GMT 1, I've been a member of this forum for a while now, mostly reading though, not as active commenting side.
I have a couple of Cleon Peterson prints that I purchased a few years back, and I'd like to sell them and make space to rotate in some new artwork. Anyone have some advice on where the best place to post these up would be, and a general idea of what his pieces are doing these days in terms of value?
One is End Of Empire 15, 28"x28" black & bright orange piece, and I had it custom framed.
The other is Judgement 16, 20"x28" black on white piece. Both purchased from his website.
Any advice would be helpful. Thanks. -Graeme
I've been a member of this forum for a while now, mostly reading though, not as active commenting side. I have a couple of Cleon Peterson prints that I purchased a few years back, and I'd like to sell them and make space to rotate in some new artwork. Anyone have some advice on where the best place to post these up would be, and a general idea of what his pieces are doing these days in terms of value? One is End Of Empire 15, 28"x28" black & bright orange piece, and I had it custom framed. The other is Judgement 16, 20"x28" black on white piece. Both purchased from his website. Any advice would be helpful. Thanks. -Graeme
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Cleon Peterson Artwork, VALUATION, by Lucky Bastard on Oct 20, 2017 2:43:13 GMT 1, the judgement has been listed for 200ish, both variants, as for the end of empire who knows
the judgement has been listed for 200ish, both variants, as for the end of empire who knows
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snbr2011
New Member
Posts • 24
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November 2017
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Cleon Peterson Artwork, VALUATION, by snbr2011 on Nov 25, 2017 14:48:13 GMT 1, how much his original work going for these days?
how much his original work going for these days?
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Cleon Peterson Artwork, VALUATION, by Howard Johnson on Jun 25, 2018 16:11:12 GMT 1, Anyone have an idea of what a unique diamond dust "masters of war" is worth? No ink, only diamond dust on black stock. Thanks in advance!
Anyone have an idea of what a unique diamond dust "masters of war" is worth? No ink, only diamond dust on black stock. Thanks in advance!
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kwatis
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Posts • 974
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Member is Online
April 2007
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Cleon Peterson Artwork, VALUATION, by kwatis on Jun 28, 2018 18:28:21 GMT 1, Anyone have an idea of what a unique diamond dust "masters of war" is worth? No ink, only diamond dust on black stock. Thanks in advance! Holy crap, never seen or heard about these, but it makes sense that he and/or the print shop did some of these. I think Seriopress does his printing, you might reach out to them to see if they did this edition.
Anyone have an idea of what a unique diamond dust "masters of war" is worth? No ink, only diamond dust on black stock. Thanks in advance! Holy crap, never seen or heard about these, but it makes sense that he and/or the print shop did some of these. I think Seriopress does his printing, you might reach out to them to see if they did this edition.
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J Kwon
New Member
Posts • 80
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April 2016
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Cleon Peterson Artwork, VALUATION, by J Kwon on Dec 22, 2020 8:21:28 GMT 1, Can anyone please explain to me why Cleon Peterson’s work is desired. Not trying to be a troll, just genuinely curious. I know that beauty is in the eye of the art holder, but I don’t get it and want to know if there’s a deeper meaning or cultural significance to his work.
Can anyone please explain to me why Cleon Peterson’s work is desired. Not trying to be a troll, just genuinely curious. I know that beauty is in the eye of the art holder, but I don’t get it and want to know if there’s a deeper meaning or cultural significance to his work.
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Ravnur 2020
New Member
Posts • 667
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October 2020
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Cleon Peterson Artwork, VALUATION, by Ravnur 2020 on Dec 22, 2020 10:09:15 GMT 1, Can anyone please explain to me why Cleon Peterson’s work is desired. Not trying to be a troll, just genuinely curious. I know that beauty is in the eye of the art holder, but I don’t get it and want to know if there’s a deeper meaning or cultural significance to his work.
Each to their own, but I like it as it comments on power struggles and violence in today’s society. in many ways. Also I like the way it pictorially refers back to Ancient Greece etc etc.
The latest blurb on the artists site about his latest exhibition says it better than I can and I took the liberty to copy it here:
Hysteria constitutes something of a departure for Peterson, who is widely recognized for his depictions of monstrous, brutish authoritarian figures dispensing cruelty and violence on one another. In paintings, prints, sculptures, multiples and murals, Peterson has developed a distinctive graphic style through which he describes a psycho-social landscape riven by fear, violence, power and submission.
The new work in Hysteria reflects the evolution that has taken place both in Peterson’s thinking over the recent turbulent months and also throughout the nation at large. In the lead up to the Presidential Election, with political propaganda proliferating and ideologues drowning out nuance and reason, Peterson moved beyond the formal and conceptual binaries of his earlier work to create pictures that embody the confusion, anger, repulsion and horror in our present moment.
“I feel like we’re living in a new medieval period,” Peterson says. “We have a plague, and folklore and mythology are influencing us more than rational thought.”
His 2018 exhibition at Over the Influence, Blood and Soil, adhered to the black and red aesthetic of Fascist propaganda that was codified in Europe in the lead up to the Second World War, drawing deliberate parallels between those histories of societal debasement and the hyperbolic and increasingly violent state of contemporary American discourse.
In place of those red, white and black compositions, in which battle is often waged between two visually interchangeable foes, Peterson’s new paintings seem inflected with a weariness and a malaise. Yellow – a color associated with sickness, deceit, poison, fear, and danger – replaces red. The scenes described in these works are more scatological, abhorrently grotesque, perversely sexual and theatrically cruel than ever before. Textual inscriptions along the edges of the canvases – a new innovation for Peterson – suggest endless tickertapes of ironic commentary on the images they envelop.
In Hysteria, Peterson is particularly influenced by historical depictions of monsters, from horror movies to Gothic fiction and to Classical mythology. Monsters, he observes, have traditionally operated as reflections of the aspects of ourselves we least like to acknowledge. Monsters typically fuse contradictory ideas: self and other, for example, or human and non-human, living and dead. They are impure, but also always somehow ambiguous in status.
Today’s monsters are created less in movie special effects departments than in the sphere of social media, where public figures on all sides of the political divide are shaped by a blend of second-hand evidence, allegation, rumor, supposition and outright fiction into demons as comfortingly appalling as any monster dreamt up by a Victorian novelist. The parallel universe of the digital mediascape is both exaggeratedly unreal and alarmingly consequential in our lives. As the population either fumbles towards overdue social reform or jerks fearfully away from it, a seemingly endless parade of bogeymen is manufactured to satisfy people’s will to define themselves in contradistinction to what they are not. Meanwhile, there persists the suspicion that real monsters, more powerful and amoral than any in the public eye, operate invisibly and unaccountably in the background, circumscribing our choices and desires.
This is the context against which Peterson’s visions sear themselves into our consciousness. If Peterson is an artist for America’s unfinest hour, his work – which might at first seem so caustic and extreme – serves as a quasi-realist mirror of our decline, and a sobering warning of what may lie ahead.
Can anyone please explain to me why Cleon Peterson’s work is desired. Not trying to be a troll, just genuinely curious. I know that beauty is in the eye of the art holder, but I don’t get it and want to know if there’s a deeper meaning or cultural significance to his work. Each to their own, but I like it as it comments on power struggles and violence in today’s society. in many ways. Also I like the way it pictorially refers back to Ancient Greece etc etc. The latest blurb on the artists site about his latest exhibition says it better than I can and I took the liberty to copy it here: Hysteria constitutes something of a departure for Peterson, who is widely recognized for his depictions of monstrous, brutish authoritarian figures dispensing cruelty and violence on one another. In paintings, prints, sculptures, multiples and murals, Peterson has developed a distinctive graphic style through which he describes a psycho-social landscape riven by fear, violence, power and submission. The new work in Hysteria reflects the evolution that has taken place both in Peterson’s thinking over the recent turbulent months and also throughout the nation at large. In the lead up to the Presidential Election, with political propaganda proliferating and ideologues drowning out nuance and reason, Peterson moved beyond the formal and conceptual binaries of his earlier work to create pictures that embody the confusion, anger, repulsion and horror in our present moment. “I feel like we’re living in a new medieval period,” Peterson says. “We have a plague, and folklore and mythology are influencing us more than rational thought.” His 2018 exhibition at Over the Influence, Blood and Soil, adhered to the black and red aesthetic of Fascist propaganda that was codified in Europe in the lead up to the Second World War, drawing deliberate parallels between those histories of societal debasement and the hyperbolic and increasingly violent state of contemporary American discourse. In place of those red, white and black compositions, in which battle is often waged between two visually interchangeable foes, Peterson’s new paintings seem inflected with a weariness and a malaise. Yellow – a color associated with sickness, deceit, poison, fear, and danger – replaces red. The scenes described in these works are more scatological, abhorrently grotesque, perversely sexual and theatrically cruel than ever before. Textual inscriptions along the edges of the canvases – a new innovation for Peterson – suggest endless tickertapes of ironic commentary on the images they envelop. In Hysteria, Peterson is particularly influenced by historical depictions of monsters, from horror movies to Gothic fiction and to Classical mythology. Monsters, he observes, have traditionally operated as reflections of the aspects of ourselves we least like to acknowledge. Monsters typically fuse contradictory ideas: self and other, for example, or human and non-human, living and dead. They are impure, but also always somehow ambiguous in status. Today’s monsters are created less in movie special effects departments than in the sphere of social media, where public figures on all sides of the political divide are shaped by a blend of second-hand evidence, allegation, rumor, supposition and outright fiction into demons as comfortingly appalling as any monster dreamt up by a Victorian novelist. The parallel universe of the digital mediascape is both exaggeratedly unreal and alarmingly consequential in our lives. As the population either fumbles towards overdue social reform or jerks fearfully away from it, a seemingly endless parade of bogeymen is manufactured to satisfy people’s will to define themselves in contradistinction to what they are not. Meanwhile, there persists the suspicion that real monsters, more powerful and amoral than any in the public eye, operate invisibly and unaccountably in the background, circumscribing our choices and desires. This is the context against which Peterson’s visions sear themselves into our consciousness. If Peterson is an artist for America’s unfinest hour, his work – which might at first seem so caustic and extreme – serves as a quasi-realist mirror of our decline, and a sobering warning of what may lie ahead.
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J Kwon
New Member
Posts • 80
Likes • 27
April 2016
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Cleon Peterson Artwork, VALUATION, by J Kwon on Dec 22, 2020 16:52:09 GMT 1, Thanks for sharing that. Beautifully written description that encapsulates who and what the artist is trying to depict through his art. It makes sense. I guess it visually doesn’t really appeal to me. But at least I get why people would like it. Thanks again for the info!
Thanks for sharing that. Beautifully written description that encapsulates who and what the artist is trying to depict through his art. It makes sense. I guess it visually doesn’t really appeal to me. But at least I get why people would like it. Thanks again for the info!
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