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Charles Lutz Art

American, b. 1982

Charles Lutz received his BFA in painting and art history from Pratt Institute and studied human dissection and anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values.

Lutz's 2007 “Warhol Denied” series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Andy Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project being "Officially DENIED" "Warhol" paintings authored by Lutz.

Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former director of the Andy Warhol Museum, Eric Shiner, to create a site-specific installation representing the United States. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1,500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 feet tall. All 1,500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers.

Find authentic Charles Lutz paintings and sculptures on 1stDibs.

(Biography provided by Code of Honor)

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Artist: Charles Lutz
Bather 2 (The Modern Beauty Series)
By Charles Lutz
Located in Brooklyn, NY
Charles Lutz's series of color photographs titled "Modern Beauty" is a captivating exploration of femininity and aesthetics, drawing inspiration from the iconic photographers Erwin B...
Category

2010s Art Deco Charles Lutz Art

Materials

Photographic Paper

Bather 1 (The Modern Beauty Series)
By Charles Lutz
Located in Brooklyn, NY
Charles Lutz's series of color photographs titled "Modern Beauty" is a captivating exploration of femininity and aesthetics, drawing inspiration from the iconic photographers Erwin B...
Category

2010s Art Deco Charles Lutz Art

Materials

Photographic Paper

Denied Andy Warhol Flowers 5x5" on linen White Pop Art Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (White) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 5 x 5" inches 2008 ...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Canvas, Acrylic

Denied Andy Warhol Flowers 5x5" on linen Red Pop Art Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (Red) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 5 x 5" inches 2008 L...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Canvas, Acrylic

Elizabeth Taylor Denied Andy Warhol Red Liz Painting Charles Lutz Pop Art
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Red Liz Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with the artist's Denied stamp of the Andy Warhol Art Authentication Board. 40 x 40" inches...
Category

21st Century and Contemporary Pop Art Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Dollar Bill Painting / Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Andy Warhol Dollar Bill Painting / Charles Lutz silkscreen ink on linen with the Denied stamp of the Andy Warhol Art Authentication Boar...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Linen, Acrylic

"Elvis", Denied Andy Warhol Silver & Black Pop Art Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...
Category

21st Century and Contemporary Pop Art Charles Lutz Art

Materials

Enamel

Andy Warhol Self portrait Denied Painting canvas red on linen by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol self portrait painting on linen by Charles Lutz Silkscreen and acrylic on linen with artist's Denied stamp of the Andy Warhol Art Authentication Board. 10 x 10" inches...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Andy Warhol Self portrait Denied Painting canvas pink on linen by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol self portrait painting in peach/ pink on linen by Charles Lutz Silkscreen and acrylic on linen with artist's Denied stamp of the Andy Warhol Art Authentication Board. ...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Jackie Black and White Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Jackie in Black and White by Charles Lutz Silkscreen and gold spray enamel on vintage 1960's linen with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 1...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Linen, Acrylic

Andy Warhol Self portrait Denied Painting canvas white on linen by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol self portrait painting on linen by Charles Lutz Silkscreen and acrylic on linen with artist's Denied stamp of the Andy Warhol Art Authentication Board. 10 x 10" inches...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Jackie Black and Gold Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Jackie in Black and Gold by Charles Lutz Silkscreen and gold spray enamel on vintage 1960's linen with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 16...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Acrylic, Linen

Ruba Rombic "Large Vase" Art Deco Porcelain Vase Edition by artist Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Finding inspiration from the Ruba Rombic line of Art Moderne glassware retailed by Kaufmann's Department Store in the late 1920s, artist Charles Lutz creates a striking sculptural vase featuring a complex geometry of angles and trapezoidal planes. Titled "Large Vase" (after Ruba Rombic), each piece has a matte unglazed exterior...
Category

2010s Art Deco Charles Lutz Art

Materials

Porcelain

Denied Andy Warhol Pink Electric Chair Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Pink Electric Chair Painting by Charles Lutz Silkscreen and acrylic on linen with the Denied stamp of the Andy Warhol Art Authentication Board. 22 x 28" inches 2008 Lutz's 2007 ''Warhol Denied'' series gained international attention calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on a press photo painted by Pop Artist Andy Warhol in early 1960's, this is likely one of the most iconic images from his Death and Disaster Series. The Death and Disaster Series was a dark view of the time's media and death culture. This was a departure from Warhol's Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando in that these were images of the deaths of everyday people- one could say their "15 minutes of fame" as Warhol coined...
Category

Early 2000s Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Red Skull Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Red Skull Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 11 x 15" inches 2008 Lutz's 2007 ''Wa...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Acrylic

Denied Andy Warhol Flowers (RED ORANGE BLUE) Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (RED ORANGE BLUE) Silkscreen on canvas Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. ...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Acrylic, Canvas

Denied Andy Warhol Fright Wig Self Portrait Green Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Green Self Portrait Fright Wig Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 12 x 12" inches 2...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers (Violet / Purple) Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (Violet/Purple) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" in...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Canvas, Acrylic

Denied Andy Warhol Orange Electric Chair Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Orange Electric Chair Painting by Charles Lutz Silkscreen and acrylic on linen with the Denied stamp of the Andy Warhol Art Authentication Board. 22 x 28" inches 2008 Lutz's 2007 ''Warhol Denied'' series gained international attention calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on a press photo painted by Pop Artist Andy Warhol in early 1960's, this is likely one of the most iconic images from his Death and Disaster Series. The Death and Disaster Series was a dark view of the time's media and death culture. This was a departure from Warhol's Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando in that these were images of the deaths of everyday people- one could say their "15 minutes of fame" as Warhol coined...
Category

Early 2000s Contemporary Charles Lutz Art

Materials

Acrylic

Denied Andy Warhol Green Disaster Car Crash Silkscreen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Green Disaster Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. ...
Category

Early 2000s Contemporary Charles Lutz Art

Materials

Acrylic

Elizabeth Taylor Denied Andy Warhol Silver Liz Painting Charles Lutz Violet Eyes
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Silver Liz Painting on linen by Charles Lutz Silkscreen and acrylic with silver enamel on canvas with the artist's Denied stamp of the Andy Warhol Art...
Category

21st Century and Contemporary Pop Art Charles Lutz Art

Materials

Acrylic, Linen

Denied Andy Warhol Photo Booth Self Portrait Green Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Green Self Portrait Photo Booth Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authent...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Acrylic

Elizabeth Taylor Denied Andy Warhol Liz as Cleopatra Painting Charles Lutz Blue
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Liz as Cleopatra Painting on linen by Charles Lutz Silkscreen and acrylic with silver enamel on canvas with the artist's Denied stamp ...
Category

21st Century and Contemporary Pop Art Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Fright Wig Self Portrait (Grey) Painting / Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Grey Self Portrait Fright Wig Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 12 x 12" inches 20...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Jackie Black and Blue Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Jackie in Black and Blue Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication ...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Canvas, Acrylic

Denied Andy Warhol Repent & Sin No More Black and White Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Repent & Sin No More Black and White Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 20 x 16" i...
Category

Early 2000s Pop Art Charles Lutz Art

Materials

Canvas, Acrylic

Denied Andy Warhol Flowers White/Green linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (White & Green) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers White/ Red Silkscreen linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (White & Red) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers, (Yellow) Silkscreen linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (Yellow) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inc...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers, (Red) Silkscreen linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (Red) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 24 x 24" inches...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers White 14" Silkscreen linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (White) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 14 x 14" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Andy Warhol Flowers Red 14" Silkscreen linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (Red) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 14 x 14" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Warhol Brillo Box, Contemporary Pop Art Sculpture by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Brillo Box, Contemporary Pop Art Sculpture by Charles Lutz. Silkscreen and latex paint on wood, stamped Denied with the Andy Warhol Art Authentication Board's mark. 17 x 14 x 17" 2008 Lutz's 2007 ''Warhol Denied'' series gained him international attention calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" works authored by Lutz. Andy Warhol's Brillo Boxes were originally created in 1964 and are easily his most iconic sculptures, rivaling paintings like Liz Taylor, Marilyn Monroe, Elvis, Campbell's Soup Cans, Flowers and Electric Chairs. These highly prized sculptures continue to soar in value and were the subject of a recent HBO documentary, “Brillo Box (3¢ Off)”, which also included Charles Lutz. Lutz, also known for the installation work Babel, exhibited at the 2013 Armory Fair in New York City which caused near riots as he invited the fair goers to take cardboard versions of the Brillo Box Sculptures. "In the mid-1960s, Warhol carried his consumer-product imagery into the realm of sculpture. Calling to mind a factory assembly line, Warhol employed carpenters to construct numerous plywood boxes identical in size and shape to supermarket cartons. With assistance from Gerard Malanga and Billy Linich, he painted and silkscreened the boxes with different consumer product logos: Kellogg’s Corn Flakes...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Wood, Acrylic

Denied Andy Warhol Coca Cola Bottle linen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Flowers, (White & Green) Silkscreen Linen Painting by Charles Lutz Silkscreen and acrylic on linen with Denied stamp of the Andy Warhol Art Authentication Board. 11 x ...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

RED BLACK BRILLO BOX Pop Art Louis Vuitton Warhol sculpture by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
RED BLACK BRILLO Acrylic on canvas with leather and brass fittings over wood. 17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.) 2019 The sculpture was recently featured in the Elle Decor Art Issue and one of the artist's most iconic works. The series Lutz refers to as "Luxury Sculptures" are based on the forms of Louis Vuitton trunks in combination with the box sculptures of Andy Warhol. Lutz began this series in 2008. The works aim to create a feedback loop. Where Warhol elevated consumer products like Brillo and Heinz Ketchup...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Brass

Chairman Mao Denied Andy Warhol Silkscreen Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Chairman Mao Portrait Silkscreen Painting by Charles Lutz Silkscreen and acrylic polymer on canvas with artist's Denied stamp of the ...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Acrylic

Silver Self Portrait Denied Andy Warhol Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Silver Self Portrait Silkscreen Painting by Charles Lutz Silkscreen and aluminum paint on canvas with artist's Denied stamp of the Andy Warhol Art Authentication Board....
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Denied Warhol Brillo Box Yellow, Contemporary Pop Art Sculpture by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Brillo Box Yellow Contemporary Pop Art Sculpture by Charles Lutz. Silkscreen and latex paint on wood, stamped Denied with the Andy Warhol Art Authentication Board's mark. 13 x 16 x 11.5" 2008 Lutz's 2007 ''Warhol Denied'' series gained him international attention calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" works authored by Lutz. Andy Warhol's Brillo Boxes were originally created in 1964 and are easily his most iconic sculptures, rivaling paintings like Liz Taylor, Marilyn Monroe, Elvis, Campbell's Soup Cans, Flowers and Electric Chairs. These highly prized sculptures continue to soar in value and were the subject of a recent HBO documentary, “Brillo Box (3¢ Off)”, which also included Charles Lutz. Lutz, also known for the installation work Babel, exhibited at the 2013 Armory Fair in New York City which caused near riots as he invited the fair goers to take cardboard versions of the Brillo Box Sculptures. "In the mid-1960s, Warhol carried his consumer-product imagery into the realm of sculpture. Calling to mind a factory assembly line, Warhol employed carpenters to construct numerous plywood boxes identical in size and shape to supermarket cartons. With assistance from Gerard Malanga and Billy Linich, he painted and silkscreened the boxes with different consumer product logos: Kellogg’s Corn Flakes...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Wood, Acrylic

Jean-Michel Basquiat Oxidation Denied Andy Warhol Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Jean-Michel Basquiat Silkscreen Painting on canvas by Charles Lutz Silkscreen and oxidized metal pigment in acrylic on canvas with artist's Denied stamp of the Andy Warhol Art...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Canvas, Acrylic

Marlon Brando Denied Andy Warhol Silkscreen Painting on Linen by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Marlon Brando Silkscreen Painting on raw linen by Charles Lutz Silkscreen and acrylic on raw linen with artist's Denied stamp of the...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Marilyn Monroe Andy Warhol Denied Painting canvas yellow red blue Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol portrait of Marilyn Monroe Silkscreen Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with artist's Denied stamp of the Andy Warhol Art Authentication Board. 18 x 14" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

Marilyn Monroe Andy Warhol Denied Painting canvas pink red by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol portrait of Marilyn Monroe Silkscreen Painting on canvas by Charles Lutz Silkscreen and acrylic on canvas with artist's Denied stamp of the Andy Warhol Art Authentication Board. 18 x 14" inches 2008 Lutz's 2007 ''Warhol Denied...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Linen, Acrylic

LV BRILLO ( RED BLUE WHITE ) Pop Art Louis Vuitton box sculpture by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
BRILLO (RED BLUE WHITE) Acrylic on canvas with leather and brass fittings over wood. 17 x 17 x 14" (43.18 x 43.18 x 35.56 cm.) 2019 The series Lutz refers to as "Luxury Sculptures" are based on the forms of Louis Vuitton trunks in combination with the box sculptures of Andy Warhol. Lutz began this series in 2008. The works aim to create a feedback loop. Where Warhol elevated consumer products like Brillo and Heinz Ketchup...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Brass

Denied Warhol Mona Lisa Reversal Pop Art Painting by Charles Lutz
By Charles Lutz
Located in Brooklyn, NY
Denied Warhol Mona Lisa Reversal Silkscreen Painting Charles Lutz 20 x 26" 2008 Silkscreen on canvas Lutz's 2007 ''Warhol Denied'' series gained him international attention calling...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Acrylic, Canvas

THE INCORRUPTIBLE, Stainless Steel Yacht / Boat Christening Bottle Sculpture
By Charles Lutz
Located in Brooklyn, NY
THE INCORRUPTIBLE Polished stainless steel. 12 X 3.75" (30.5 x 9.5 cm) Edition of 5 2014 THE INCORRUPTIBLE is an important example of Lutz's Christening Series, a grouping of painti...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Stainless Steel

Volatility Screen, Contemporary Art Room Divider Walnut with Black, Teal, Ivory
By Charles Lutz
Located in Brooklyn, NY
Volatility Screen Acrylic and oil on walnut veneered plywood in 4 parts, with aluminum and steel fittings. 4 panels each 16.25 x 72", overall 65 x 72" 2019 This substantial work b...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Steel

ANDY WARHOL'S KELLOGG'S LOUIS VUITTON, Unique Multicolor LV Box Sculpture
By Charles Lutz
Located in Brooklyn, NY
CHARLES LUTZ (AMERICAN, B. 1982) ANDY WARHOL'S KELLOGG'S VUITTON, circa 2009 Acrylic on canvas material with leather and brass fittings over wood, monogrammed 'AW' for Andy Warhol t...
Category

21st Century and Contemporary Contemporary Charles Lutz Art

Materials

Enamel, Brass

Charles Lutz art for sale on 1stDibs.

Find a wide variety of authentic Charles Lutz art available for sale on 1stDibs. If you’re browsing the collection of art to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of red, blue, green and other colors. You can also browse by medium to find art by Charles Lutz in acrylic paint, paint, synthetic resin paint and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large Charles Lutz art, so small editions measuring 5 inches across are available. Customers who are interested in this artist might also find the work of Robert Mars, Elena Borstein, and Keith Carrington. Charles Lutz art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $700 and tops out at $75,000, while the average work can sell for $7,500.

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