Billy Apples mest kjente maleri er Self Portraits (Apple Sees Red on Green) (1963), i Tate Modern, London. Sammen med The man in the hathaway suit og Entertaiment utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 11 verk av Billy Apple; de 11 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026.
De 2 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Billy Apple | Malerier fra denne listen |
|---|---|---|---|
 NEMO Science Museum |
Amsterdam | 2 | Apple II, Apple personal computer |
 Tate Modern |
London | 1 | Self Portraits (Apple Sees Red on Green) |
24 års arbeid av Billy Apple, fra 1963 til 1986, år for år: de mest kjente maleriene fra hvert år, i kronologisk rekkefølge.
Self Portraits (Apple Sees Red on Green) (1963), Tate Modern, London. Deretter følger The man in the hathaway suit og Entertaiment.
28 år gammel: Self Portraits (Apple Sees Red on Green) er fra 1963, og Billy Apple ble født i 1935.
Self Portraits (Apple Sees Red on Green), The man in the hathaway suit, Entertaiment, Apple II, Apple personal computer, From the mike wilson collection, Vertical progressive, As good as gold, The presidential suite og Relation of aesthetic choice to life activity function of the subject. Rangeringen ovenfor viser årstallet og museet for hvert av dem.
Vår katalog inneholder 11 verk av Billy Apple, datert fra 1963 til 1986.
De fleste av dem befinner seg i NEMO Science Museum (Amsterdam) og Tate Modern (London). Tabellen ovenfor lister opp museene ett etter ett.
Det eldste på denne siden er Self Portraits (Apple Sees Red on Green) (1963), det nyeste Apple personal computer (1986).
Pop art, som maleriene på denne siden viser.
Apple II og Apple personal computer er blant de 2 verkene på denne siden som er i NEMO Science Museum, Amsterdam sin samling.
Born Barrie Bates in Auckland, New Zealand, on December 31st, 1935, Billy Apple’s artistic journey was a radical transformation—a deliberate shedding of identity to forge a new persona entirely dedicated to exploring the intersection of art, commerce, and everyday life. His career spanned six decades, marked by a relentless experimentation with materials, concepts, and his own self-branding, ultimately establishing him as a pivotal figure in both Pop Art and Conceptual Art movements. Apple’s work wasn't simply about creating objects; it was about questioning the very nature of art itself – its value, its context, and its relationship to the world around us.
Early influences were surprisingly diverse. Bates’ initial training at Elam School of Fine Arts in Auckland exposed him to a burgeoning New Zealand art scene, but his true artistic awakening occurred during his studies at the Royal College of Art in London in 1959. There, amidst the vibrant and challenging environment of post-war British art, he encountered artists like David Hockney and Ridley Scott, absorbing their innovative approaches while simultaneously forging his own distinct path. This period laid the groundwork for his later embrace of Pop Art’s fascination with popular culture and its critique of consumerism – a theme that would become central to his practice.
In 1962, Bates dramatically reinvented himself as Billy Apple. This wasn't merely a name change; it was a complete artistic statement. He bleached his hair and eyebrows with Lady Clairol Instant Cremé Whip – a deliberate act of appropriation and subversion, immediately signaling a rejection of traditional notions of the artist’s persona. The creation of ‘Billy Apple’ coincided with a move to New York City in 1964, where he began to actively participate in the burgeoning Pop Art scene. This strategic rebranding allowed him to operate outside the constraints of personal identity and focus solely on his artistic vision.
Apple's early work in New York was characterized by a playful engagement with technology and consumer culture. The “American Supermarket” exhibition, curated by Ben Birillo in 1964, showcased everyday objects – produce, canned goods, advertisements – all created by prominent Pop artists, including Apple himself. This project brilliantly highlighted the blurring lines between art and commerce, reflecting the growing influence of mass media and advertising on society. Later, his exploration of neon signage—particularly in works like “Apples to Xerox” (1965) and “Neon Rainbows” (1965)—became a signature element, utilizing bright, synthetic light to draw attention to the artificiality of modern life.
As the 1970s progressed, Apple shifted his focus towards more conceptual approaches. He established ‘APPLE,’ a groundbreaking alternative exhibition space in New York City’s West Village in 1969. This wasn't simply a gallery; it was a self-contained environment designed to challenge conventional art practices and foster dialogue. ‘APPLE’ operated as both an exhibition venue and a forum for artistic experimentation, hosting works by artists like Geoff Hendricks, Larry Miller, and Davi Det Hompson. The space became a vital hub for the avant-garde, pushing boundaries and questioning established hierarchies within the art world.
Beyond ‘APPLE,’ Apple continued to develop his own unique system of branding and self-promotion. He created a line of products – “Billy Apple” cider, coffee, and even an apple variety – extending his artistic identity into the realm of commerce. This strategic move wasn’t merely about generating revenue; it was a deliberate exploration of the relationship between art and capital, questioning the very definition of value within the art market.
Billy Apple's influence on contemporary art is profound. He pioneered techniques like neon sculpture and self-branding, pushing the boundaries of artistic expression and challenging traditional notions of the artist’s role. His work continues to be exhibited internationally, recognized for its conceptual rigor, playful experimentation, and critical engagement with society. Apple’s legacy extends beyond his individual artworks; he fundamentally altered the way artists approached their practice, demonstrating the power of self-invention and the potential for art to operate as a commentary on the world around us. He died in Auckland, New Zealand, on September 6th, 2021, leaving behind a body of work that remains both provocative and deeply insightful.