Mid Century Mixed Media Collage on Board Egyptian Motif Painting by NY Artist Norman Pate
It measures about 13 inches by 25 inches tall. It is signed on the front and the back.
Article/biography below was taken from Staten Island live website.
Operating out of a disorderly, art-crammed studio on the grounds of the Snug Harbor Cultural Center and Botanical Garden, artist Norman Pate (1922-2004) was a grouchy, beloved fixture on the Staten Island scene for decades. Former Snug Harbor visual arts director Olivia Georgia, who made no secret of her fondness for Pate, liked to call him "an irascible old coot." In 1996, she curated "Norman Pate: A Retrospective" at the Newhouse Center for Contemporary Art. It is still the biggest Newhouse show ever mounted for an Island artist. Thirteen years later, it is terrific to revisit the territory in "Norman Pate: The Artist's Artist" at the Art Lab, which inherited much of the artist's studio. Proceeds from the sale of his work underwrite an annual scholarship at the Lab, an art school. Well-trained, Pate could pretty much do anything: Representational drawing, collage, sculpture, assemblage. Eventually, he grew to prefer collage/assemblage, but he remained inventive to the end. He made elegant ink drawings on "arithmetic paper," the cheapest, crappiest kind of paper, a half-step from butchers' paper. He drew figures. He made abstracts. When he wasn't engaged in some sort of big project, he was tearing pages out of magazines and newspapers and doing things to them. What sort of things? Often he'd simply add festive spatters of paint. Just for fun, Art Lab boss Malissa Priebe has stapled a whole wall full of these sheets at the entrance to the gallery. Inside, it's easy to get some sense of Pate's energy and inventiveness. Yes, his sculpture, puzzled together out of black painted wooden furniture fragments, looks a lot like the work of Louise Nevelson. Pate didn't tell the story for years, but it turns out he knew Nevelson. She saw his work one afternoon in Washington Square Park. The rest is history. Pate never seemed to envy her success with his idea. "So what," he would say. "Nobody's original, except for van Gogh." For quite a while, he enjoyed translating the formula he used in the sculptures (a certain deployment of curved and angular elements) into two dimensions, as collages. He produced hundreds and hundreds.
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