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ARTHUR ROBINS
Arthur Robins, Times Square Corner

Arthur Robins, who has lived in New York for the last thirty years, has shown his work in as varied of places as the streets of New York to the John McEnroe Gallery in Soho. In 1993 Robins was one of the founding members of A.R.T.I.S.T., a group that successfully litigated a Federal landmark case extending the First Amendment right of free speech to artists and fine art (selling art on New York streets had been banned). Robins' "pool art" has been much admired by top players and has been collected by billiard industry doyen Ronald Blatt who continuously runs a video of Robins explaining his art at the entrance of his showroom on Broadway.

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PAINTINGS PAGES

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SCULPTURE PAGES

 

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...wondering if you could tell me where you will be displaying your other works...[more testimonials]

ARTHUR ROBINS, BRONX RAINY DAY
Bronx Rainy Day

ARTHUR ROBINS, CENTRAL PARK SOUTH
Central Park South

ARTHUR ROBINS
Figures & Animal with Red Sunset

ARTHURROBINS.COM

  ESSAY - THE PROBLEM WITH ICONS by Arthur Robins

While Icons have been around for millennium, I believe that they are the opposite of “Art”, and this is why: Icons are design, isolated and limited symbols. Fine art is (supposed to be) imaginary, suggestive imagery. Part of a whole. Icons are capturing an often known symbol (or even unknown) and giving it “magical” powers by projecting it into the mind. Fine art involves allowing images to be to be “symbolic” with multiple possible meanings, or different levels of meaning. They are in a context that allows freedom of association. Icons seek to force the mind to obey the limited purpose that the ‘designer’ has created for this symbol. Fine art remains an open ended dream world of many possibilities.

Icons turn art into a “Thing”. Fine art, in its purest form, is supposed to communicate something. Turning art into a ‘thing’ nullifies its ability to effectively communicate and undermines the very value of art itself. The Bible contains countless images. These images have been depicted by thousands of artists throughout time. Most were created before TV, movies, magazines or any mass form of communication. They were created to communicate the deep concepts and stories revealed in the Bible. But religious Icons, rather than communicate, force people to worship the icon. They become idols rather than beacons of light. They become replacements for God Himself, and seek to become God. In places where you find religious Icons, you find a significant lack of revelation of God. As such, icons replace real art. The Icon’s power to undermine the freedom of fine art is its very purpose. The cheap and easy presentation of an iconic image, giving all the appearances of ‘communication’ without the needed revelation, is a ploy to destroy the very concept of ‘revelation’ itself. The ‘revelation’ of art itself, by definition, comes directly from God. In bypassing Him, all communication in fine art will be inevitably fruitless, pointless,and meaningless. Creating Icons is the godless way to create false revelation, false depth, and false spirituality.

The icon seeks to demand allegiance, be bowed down to, be held high and looked up to. Fine art asks to be interpreted. If it shouts, it does so quietly. It “demands” that you think for yourself. It offers new insight and new concepts with depth of feeling. The Icon is always stylized, rigid, hard edged, and stoic. Fine art is often unstylized, free and loose, soft edged and passionate. The Icon is is center paged, and self centered, presented without the slightest self examination. Fine art is composed and open-ended, presenting many questions about life and the nature of existence, and it tries to answer them.

Icons are self conscious. Fine art is Truth conscious. Icons don’t care about you, they care about them. FIne art is all about you. Icons take from you and give nothing. Fine art gives to you and takes nothing. Fine art wants to explore the unknown and try and make it known. Icons want to present the known, and try and create mystery around it. Icons are symbols, representing something else. Fine art, while it may be depicting something, IS the thing. It stands for itself. Icons depend on the viewer recognizing what it is. Fine art reveals secrets that the viewer doesn’t know. Fine art represents the true heart of man, yearning to know. While the art world allows fine art and icons to exist calmly side by side, like old friends, it is my opinion that they are not, and time will surely tell.

 

SELECT PAINTINGS OF NEW YORK EXPRESSIONIST ARTIST ARTHUR ROBINS AVAILABLE FOR VIEWING AT SUI GENERIS NEW YORK SELECT PAINTINGS OF NEW YORK EXPRESSIONIST ARTIST ARTHUR ROBINS AVAILABLE FOR VIEWING AT SUI GENERIS NEW YORK

 

ARTHUR ROBINS BILLIARD PAINTINGS AND OTHER EXPRESSIONIST WORKS AT POOLPAINTINGS.COM; NEW YORK ART

PAINTINGS BY TITLE

OTHER PAINTINGS
Blue Moon
Broadway Lafayette Station
Bronx Rainy Day
Chelsea
Chuchi Fritos
Crossed Tracks
Dog Walking With Monument
Homeless Man w/ Couple in the Park
New City
Saint Marx Pizzeria
Stuyvesant Park
The False Promises of Culture
Times Square II
3rd and McDougal in the Rain
Under The Platform

BILLIARD PAINTINGS
A Chance For Freedom
Against The Odds
Bettin' Large
Big Cue
Can't Miss Combo
Four In The Corner
Gentleman's Game
Hustlin' The Hustler
Over The Top
Playin' For Position
Pool Hustler
Private Game
Runnin' The Table
Salsa Pool
Shootin' For Keeps
Shootin' The Seven
The Last Shot

 

COMING SOON
Artist interviews and audio books
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VIDEO ARCADE, 1984

PROVENANCE:
Steven Adams Gallery
John McEnroe Gallery


CHELSEA IN THE SUMMER, 1996

 

 

 

 

 

 

 

 

 

 
ARTHUR ROBINS, PATH TO CHRIST, 1996, OIL ON CANVAS, 54x72 INCHES

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
ARTHUR ROBINS, SUBWAY CULTURE CLUB, 1996, OIL ON CANVAS, 48x36 INCHES

 

 

 

 

 

 

 

 

 

 

  © 2005 Arthur Robins. ALL RIGHTS RESERVED

Arthur Robins TEL: (917) 400-5790

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