1990s "Balls on the Line" Satirical Wood Panel Original Painting and Carving by Mickey "Kano" Kane

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"Balls on the Line" Satirical Wood Panel Original Painting and Carving

Elaborate collage, painting and carved sculpture by Mickey "Kano" … Read more "Balls on the Line" Satirical Wood Panel Original Painting and Carving

Elaborate collage, painting and carved sculpture by Mickey "Kano" Kane (American, 20th century). Ball's on the Line takes the form of a satirical contract, darkly parodying the solemnity symbols and currency. It is a part of the artist's "Totem" series. The painting features a symmetrical, almost mandala-like composition with layered shapes and patterns, and a palette dominated by browns, yellows, and purples. At the bottom of the painting, a row of small, distorted portraits of George Washington are visible. Kano's work is outsider art - characterized by its creation outside the boundaries of mainstream art and often by self-taught or unconventional artists. Outsider art encompasses a diverse range of artists, including self-taught visionaries, psychiatric patients, and those outside the mainstream art world.

Titled, signed, and dated on verso:
"Balls on the Line" Kano 92
Panel size: 48"H x 72"W

Mickey “Kano” Kane (American, 1939-2002) was born in Illinois and grew up in Sacramento, CA. Kane moved to the Pacific Coast and worked on mixed media panels - which he would refer to as a “Totem” – and detailed collage compositions. His collage work is generally satirical or critical in nature, frequently dealing with themes of money, capitalism, government, power, and debt. By contrast, his “Totem” sculptural work is abstract and free of direct symbolism, focusing instead on the aesthetics of the composition.

Original Member, Artist’s Cooperative Gallery

Artist’s Statement:
The Totem is indicative of the unfolding 21st Century, graphically and metaphorically. It is neither one side nor the other, nor does one side challenge or compete with the other. Each side cooperates and thus enhances the other so that both "sides" transcend that definition into a composition revealing that, indeed, the whole is greater than the sum of its parts. The Totem reflects the inner harmony that all sides, whether two or two thousand, are striving to manifest in their own inimitable way. See less