Red Grooms, Red Grooms Canal St Chinatown Manhattan New York City Lithograph Cartoon

Red Grooms (American, b. 1937).
Lithograph in colors on wove paper, 1993
“East of Canal Street, Corner of Canal.”
Published by the Brooklyn Museum
(Reference: Red Grooms: The Graphic Work, Walter G. Knestrick. Harry Abrams Inc Publishers, New York, 2001. Cat. no 138 page 172,
Alexander & Cowles 138).
Downtown Manhattan, New York City Chinatown Street scene with various vendors.
Hand signed in black crayon and numbered on image at bottom edge.
“8/115 Red Grooms.”
Dimensions 22″ x 30″
Printer: Sharks Lithographs Ltd, Boulder, CO

Red Grooms (born Charles Rogers Grooms on June 7, 1937) is an American multimedia artist best known for his colorful pop-art constructions depicting frenetic scenes of modern urban life. Grooms was given the nickname “Red” by Dominic Falcone (of Provincetown’s Sun Gallery) when he was starting out as a dishwasher at a restaurant in Provincetown and was studying with Hans Hofmann.
Grooms was born in Nashville, Tennessee during the middle of the Great Depression. Red Grooms came of age in the shadow of the Abstract Expressionists. He studied at the Art Institute of Chicago, then at Nashville’s Peabody College. In 1956, Grooms moved to New York City, to enroll at the New School for Social Research. A year later, Grooms attended a summer session at the Hans Hofmann School of Fine Arts in Provincetown, Massachusetts. There he met experimental animation pioneer Yvonne Andersen, with whom he collaborated on several short films. Grooms follows in the tradition of William Hogarth and Honoré Daumier, who were canny commentators on the human condition. In 1969, Peter Schjeldahl compared Grooms to Marcel Duchamp, because both embodied “a movement of one man that is open to everybody.”
In the spring of 1958, Grooms, Yvonne Andersen and Lester Johnson each painted twelve-foot by twelve-foot panels, which they erected with telephone poles on a parking lot adjacent an amusement park in Salisbury, MA. Inspired by artist-run spaces such as New York’s Hansa Gallery and Phoenix, and Provincetown’s Sun Gallery, Grooms and painter Jay Milder opened the City Gallery in Grooms’ second-floor loft in the Flatiron District. When Phoenix refused to show Claes Oldenburg, Grooms and Milder dropped out of Phoenix and City Gallery presented Oldenberg’s first New York exhibition, as well as that of Jim Dine. Other artists who showed at City Gallery include Stephen Durkee, Mimi Gross (daughter of Chaim Gross and Red Grooms wife), Bob Thompson, Lester Johnson, and Alex Katz. Grooms never developed the detached stance of such Pop Art practitioners as Andy Warhol, Roy Lichtenstein or James Rosenquist. Instead he painted his own life, and became, literally, an actor on the stage of life — in this case the art-as-life “happenings” of the downtown New York scene. Inspired by George Méliès’s 1902 film A Trip to the Moon, Grooms’ early film Shoot the Moon (1962) features celebrants played by Edwin Denby, Alex Katz and Grooms seen shredding library books to make confetti. Other Grooms films include:The Big Sneeze (1962), a hand-drawn comic filmed by Rudy Burckhardt; Before an’ After (1964), a sado-masochistic comedy that casts Mimi Gross as part dominatrix/part healthclub operator; Fat Feet (1966), a collaboration with Mimi Gross, Yvonne Andersen and Dominic Falcone that begins where Shoot the Moon ends; Tapping Toes (1968-70), which uses his first sculpto-pictorama City of Chicago (1967) as its set; Conquest of Libya by Italy (1912-13) (1972-3), a black and white animation that spoofs that era’s newsreels; Hippodrome Hardware (1973), based on Grooms’ 1972 live performance of the same name, whose main character Mr. Ruckus is played by Grooms; Grow Great (1974), a live-action short that features Mimi Gross as the household consumer; Little Red Riding Hood (1978), which features his daughter Saskia; and Man Walking Up (1984).
Today Grooms is recognized as a pioneer of site-specific sculpture and installation art. City of Chicago (1967), a room-sized, walk-through “sculpto-pictorama,” features sky-scraper-proportioned sculptures of Mayor Daley and Hugh Hefner “joined by such historical figures as Abraham Lincoln, Al Capone, and fan-dancer Sally Rand, accompanied by a sound track featuring gunfire and burlesque music. Grooms’s genius for rendering the intricacies of architectural ornament is vividly apparent in several three-dimensional vistas of Chicago’s famous buildings. Evident here and in the numerous other cityscapes Grooms has created is his extraordinary ability to capture a sense of place with a great sensitivity to detail.
Another sculpto-pictorama, Ruckus Manhattan (1975) exemplifies the mixed-media installations that would become his signature craft. These vibrant three-dimensional constructions melded painting and sculpture, to create immersive works of art that invited interaction from the viewer. The pieces were often populated with colorful, cartoon-like characters, from varied walks of life. His satirical environmental installation The Discount Store was shown at VCU’s Anderson Gallery in 1979. One of his biggest themes is the use of painting people, often using other artists or their styles to show his appreciation for their works.
Besides painting and sculpture, Grooms is also known for his prolific printmaking. He has experimented with numerous techniques, creating woodblock and silkscreen prints, spray-painted stencils, soft-ground etchings, and elaborate three-dimensional lithograph constructions. (he inspired Charles Fazzino and James Rizzi) His 1973 purchase of a hot-glue gun facilitated several masterpieces of paper sculpture; for example, Sam, a portrait of Sam Riley who appeared in Fat Feet; and Gretchen’s Fruit, a tour-de-force still life. In 1979, Grooms spent a week teaching at the University of New Mexico, in Albuquerque, where he first started working in bronze. Regarding the several western and football themes made in metal, Grooms told Grace Glueck: “It looks just like my regular stuff, but it’s for the ages. . . It turns out to be easier to work with than less durable materials.” The monumental Lumberjack (1977–1984), cast from a whimsical woodsman Red made as a gift for artist Neil Welliver, demonstrates his facility with the lost-wax method of casting.
Highly regarded printer Bud Shark printed such high-profile image makers as Betty Woodman, Red Grooms, Hung Liu, Robert Kushner, John Buck and Enrique Chagoya. Grooms’ work has been exhibited in galleries across the United States, as well as Europe, and Japan. His art is included in the collections of thirty-nine museums, including the Art Institute of Chicago, the Museum of Modern Art in New York, the Whitney Museum of American Art, the Metropolitan Museum of Art, Cheekwood Botanical Garden and Museum of Art in Nashville, the Montgomery Museum of Fine Arts, the Cleveland Museum of Art, the Carnegie Museum of Art, and the Knoxville Museum of Art. In 2018 a gift from Walter and Sarah Knestrick of Nashville of 238 graphic works by Grooms will be installed in new galleries of the Tennessee State Museum.

In 2003, Grooms was awarded the Lifetime Achievement Award by the National Academy of Design.
Grooms currently lives and works in New York City in a studio in lower Manhattan at the intersection of Tribeca and Chinatown, where he has lived for around 40 years. He has one daughter, Saskia Grooms.
Red Grooms’ lithographs Shark’s Ink. publishers of Red Grooms’ prints since 1981