CAROLINA NITSCH ART BASEL 2022 - BOOTH E2
LOUISE BOURGEOIS
The Curved House, 2020 Carved pink marble 4 ¾ x 8 ¼ x 2 ¾ in. (12 x 21 x 7cm) Incised LB and numbered Edition of 12 Published by Carolina Nitsch for the Whitney Museum of American Art: Sculpture Edition Series BOU-0214
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SIMONE LEIGH Quonset, 2020 Cast bronze, platinum patina 13 ½ x 8 x 8 ¼ in. (34.3 x 20.3 x 21 cm) Signed and numbered certificate Edition of 8 Produced by Carolina Nitsch for the Whitney Museum of American Art Sculpture Edition Series LEI-0001
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“Mirroring Idealism captures a feeling in the moment while sitting in the barber or salon chair --- the deep thoughts we have sitting still while surrounded by so many cultural signifiers subconsciously influencing our perspective of self-worth and the values we hold as a society.” -Derrick Adams
DERRICK ADAMS
Mirroring Idealism, 2021 Wall relief of UV curable pigment on Mirror Dibond 28 ¼ x 53 ½ x 3 in. (71.75 x 140.97 x 7.6 cm) Signed, numbered, and dated certificate Edition of 40 Co-published by Carolina Nitsch and Elisabeth Wingate ADA-0001
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Women with wonderfully eccentric hair, which transform into vegetation or animals are a recurring motif in Bourgeois’ work. She is most commonly associated with her spider iconography, which is a multi-faceted metaphor referencing the mother as creator, devourer, and protector. Bourgeois grew up in a textile family and many of her works are on and/or about fabric. This work printed on silk emphasizes the spider’s ability to create its own weaving material, creating webs of concentric patterns, which is another of Bourgeois’ central themes. “The spider—why the spider? Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider.”
LOUISE BOURGEOIS
Girl With Hair, 2007 Archival dye on silk taffeta sewn to linen 23 ¾ x 17 ½ in. (60.3 x 44.5 cm) Embroidered LB,numbered verso Edition of 12, Published by Carolina Nitsch BOU-0199
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LOUISE BOURGEOIS
Untitled, 2008 Drypoint on cloth with fabric collage 31 ¾ x 25 ¼ x 2 in. (80.6 x 64.1 x 5.1 cm) Embroidered LB Unique BOU-0393
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ELMGREEN & DRAGSET
He (Gold Leaf), 2022 Carved limewood, gold leaf 11 3/4 x 8 ½ x 8 ½ in. (30 x 21.5 x 21.6 cm) Signed and numbered certificate Edition of 20 Produced by Carolina Nitsch for the New Museum of Contemporary Art, NY ELM-0002
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TRACEY EMIN
To Be Awake With You, 2015 Monotype on Somerset 30 ¼ x 44 ½ in. (76.8 x 113 cm) Signed, dated, titled. Published by Carolina Nitsch Unique EMI-0027
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TRACEY EMIN
You are Always There, 2015 Monotype diptych on Somerset. 41 ½ x 55 in. (105.4 x 139.7cm) Signed, dated, titled Published by Carolina Nitsch Unique EMI-0082
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THOMAS SCHÜTTE
Wicht, 2006 Patinated bronze, with wall mounted steel base 25 x 13 ¾ x 12 ½ in. (63.5 x 35 x 32 cm) Initialed and dated. Edition of 6 SCT-0110
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THOMAS SCHUTTE
Old Friends Revisited, 2021 Suite of 12 inkjet pigment prints on Tecco PM 230 Matt paper Each 37 ½ x 27⅝ in. (95.3 x 70.2 cm) Each signed and numbered Edition of 35 SCT-0106
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MARK BRADFORD
The Once and Future King, 2011 Knife with metal blade in stone, approx. 6 ¾ x 4 ¾ x 10 ½ in., 7 lb (ca. 17 x 12 x 26.5 cm, 3 kg.) Signed and numbered certificate. Edition of 35 BDF-0001
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DONALD JUDD
Untitled, 1990 Suite of six woodcuts printed in cadmium yellow light, cadmium yellow, and cadmium yellow deep on Japanese laid paper Tosa Hanga Each 23 ½ x 31 ½ in. (59.7 x 80 cm) Each signed and numbered verso Edition of 25 Ref: Schellmann #187-192 JUD-0010
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ROBERT LONGO
Black Flag, 1999 Cast paper and black dye 31 x 34 x 6 in. (78.7 x 86.4 x 15.2 cm) Initialed and dated verso Unique LON-0003
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ROY LICHTENSTEIN
CRAK!, 1963 Offset lithograph on lightweight, white wove paper 19 ¼ x 27 a in. (48.9 x 70.2 cm) Edition of 300. Signed, dated, numbered in pencil Ref: Cortlett 11.2 LIC-0010
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JOSEF ALBERS
Duo B, 1966 Machine-engraved vinylite mounted on Plexiglas 6 9 x 16 ¾ in. (22.9 x 42.5 cm) Edition of 30 Signed, numbered, and dated verso ALB-0003
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JOSEF ALBERS
Midnight & Noon VIII, 1964 Color lithograph on paper 18 d x 20 ½ in. (47.9 × 52.1 cm) Edition of 20 Signed, numbered, and dated ALB-0005
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JOSEF ALBERS
GB2 (Homage to the Square), 1969 Color screenprint on paper 21 ½ x 21 ½ in. (54.6 × 54.6 cm) Edition of 125 Signed, numbered, and dated ALB-0004
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CHRISTOPHER WOOL
Untitled, 1989 Red ink on Suzuki paper 37 x 24 a in. (94 x 62 cm) Signed and dated verso Unique WOO-0009
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“(Upson) casts, cuts down, or replicates natural and architectural elements that she grew up with, fusing home and mother, body and object, desire and trauma. The gripping result interrogates family, consumer culture, and “Americanness,” all while literally eviscerating parts of her childhood environment to do so.” -Kunsthalle Basel, 2019
KAARI UPSON
Mirror Box, 2018 Crystal selenite-resin composite, opaline, aluminum, quartz, tourmaline on hand painted urethane base Approx. 18 ½ x 13 ⅜ x 7 ¾ in. (47 x 34 x 19.7 cm) overall Signed and dated below # 10 from a series of 12 unique variants Published by Carolina Nitsch for the New Museum of Contemporary Art UPS-0001
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TRACEY EMIN
Self-Portrait, 12.11.01, 2001 Unique color prints from original Polaroids taken on a single day, 15 ¾ x 15 ¾ in. (40 x 40 cm), Each signed verso Series of 80 unique prints EMI-0017
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TRACEY EMIN
And I Love You, 2015 TRACEY EMIN Monotype on Somerset. 26With ½ x You 36 ¾ in. (67.3 x 93.3 cm) To Be Awake , 2015 Signed, dated, titled. Monotype Published by Carolina Nitsch Unique Signed, dated, titled EMI-0046 30 ¼ x 44 ½ in. (76.8 x 113 cm) EMI-0027 (TE-XXV-03) Please inquire
LOUISE BOURGEOIS
Mon Dieu, Mon Dieu, que le silence est beau, 2006 Watercolor, etching, and pencil on music paper 11 ¼ x 32 in. (28.6 x 81.3 cm) signed and numbered Edition of 17 unique variants BOU-0392
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LOUISE BOURGEOIS
What is the shape of this problem?, 1999 Suite of 18 prints (9 diptychs), letterpress and lithography Each 12 x 17 in. (30.5 x 43.2 cm) Each sheet initialed and numbered Edition of 25 BOU-0394
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The Hours of the Day is a chronological sequence of 24 page-spreads with text on one side and a sequential clock on the other. The text comes from Bourgeois’s daybooks, which she used for appointments and annotated with short texts and drawings. Themes of time and memory have been a consistent presence in the work of Louise Bourgeois, though her forms and materials have varied over the past seven decades; as she once stated ‘I travel in time, not in space’. Hours of the Day is a continuation of Bourgeois’ engagement with the passage of time. The installation comprises a series of printed individual fabric panels in which Bourgeois juxtaposes each hour with text written by her. Being a chronic sufferer of insomnia, Bourgeois is acutely aware of her sensations and surroundings, these only magnified during the long, lonely hours of the night. The passing of time, her memories, the qualities of changing light and ambient sounds are registered in Hours of the Day coupled with her captivating words. The recall of memories is inherently conflicted for Bourgeois – the fear of losing her memories – as well as her desire to forget painful experiences to achieve a place of peace.
LOUISE BOURGEOIS
Hours of the Day, 2006 Suite of 25 natural cotton cloth panels printed with archival dyes Each: 17 ¼ x 27 in. (44.5 x 68.6 cm) Edition of 7, signed and numbered Published by Carolina Nitsch BOU-0139
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LOUISE BOURGEOIS
The Family, 2007 Archival dyes on linen 17 ½ x 13 in. (44.4 x 33 cm) Embroidered lower right LB, numbered verso Edition of 9 Published by Carolina Nitsch BOU-0213
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LOUISE BOURGEOIS
The Reticent Child, 2008 Suite of three drypoint etchings with hand coloring on Hahnemuhle Copperplate bright white paper Each 17 x 15 in. (43.18 x 38.1 cm) Edition of 8 unique variant sets BOU-0243
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LOUISE BOURGEOIS
EYES, 2004 Watercolor, ink, colored pencil, etching on paper Signed lower right; inscribed Study 3/19 verso 9 ¾ x 12 ⅝ in. (24.8 x 32.1 cm) Series of 19 unique studies BOU-0390
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GÜNTHER FÖRG
Untitled, 1994 Mirror and copperplate mounted on wood in two parts, each 10 x 8 ¼ x 1 ¼ in. (25.5 x 21 x 3.2 cm), Signed and numbered verso Edition of 45 FOE-0029
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DAMIAN ORTEGA
Parkett, 2013 Parquet floor: 12 hand painted unique segments, to be arranged individually, each segment 7 ½ x 7 ½ x ¾ in. (19 x 19 x 2 cm), signed and numbered Edition of 35 ORT-0001
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CINDY SHERMAN Doctor and Nurse(Sepia), 1980 Pair of sepia-toned gelatin silver prints Each 9 d x 7 d in. (25.2 x 20.2 cm) Signed, dated, numbered AP Edition of 25 SHE-0002
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“I thought of the vagina in many ways- physically, conceptually: as a sculptural form, an architectural referent, the source of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by its passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual powers. This source of ‘interior knowledge’ would be symbolized as the primary index unifying spirit and flesh in Goddess worship.” -CS
CAROLEE SCHNEEMANN
Interior Scroll, 1975/2008 Suite of 13 gelatin silver prints on fiber paper, each mounted on museum board, colophon page, in clothbound clamshell case. Each photograph 11 x 14 in. (28 x 35.5 cm) Each photograph signed, dated, titled, and numbered verso Edition of 7 Co-published by Carolina Nitsch and Elisabeth Wingate SNN-0001
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ANDY WARHOL
Untitled, 1987 Black and white photographs, thread, machine-sewn collage 9 ¾ x 7 ¾ in. (24.8 x 19.7 cm) Signed and numbered verso Edition of 120 WAR-0002
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GILLIAN WEARING
My Hand, 2012 Traditional casting wax, hand painted 10 ¼ x 5 d x 4 ½ in. (26.04 x 14.92 x 11.43 cm) Signed, numbered certificate Edition of 30 WEA-0001
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GILLIAN WEARING
Sleeping Mask , 2004 Wax and polymer resin, hand painted, 8 ¼ x 5 ¼ in. (20.5 x 13.8 x 8 cm), Signed and numbered verso Edition of 60 WEA-0002 Please inquire
THOMAS SCHÜTTE
Wolken, 2022 Suite of eight color etchings Each: 26 ½ x 33 ¼ in. (67.5 x 84.5 cm) Each signed, numbered, dated Edition of 35 SCT-0109
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“Some Art Sites presents the viewer with a photographic inventory of the former locations of notable cultural production and exhibition...The viewer is confronted with an all-too-familiar urban landscape of fashion retailers, fast-food chains, condos, and parking lots with the disquieting impression of witnessing an obituary catalogue to the twentiethcentury American avant-garde. Through wry juxtaposition of image and text, Sarmento turns a critical eye on the architecture of consumerism and the changing landscape of the American cultural metropolis via the cartographic lens of modern art history.” -Printed Matter
JULIAO SARMENTO
Some art Sites of recent historical Interest in America, 2019 Suite of 35 color photographs each signed, numbered, dated verso Each 8 ¾ x 118 in. (22.2 x 28.3 cm) Edition of 3 Published by Carolina Nitsch SAR-0009
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RACHEL WHITEREAD
Switch, 1994 Plaster (prestia ortho) and brass, 3 ½ x 3 ½ x 1 8 in. (2.8 x 8.9 x 8.9 cm), Signed and numbered verso Edition of 60 WHI-0001
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RICHARD ARTSCHWAGER
Corner Exclamation , 1993 Hand painted acrylic on wood, in two parts 33 x 4 ¼ x 3 ¼ In. (83.8 x 10.8 x 8.3 cm) Signed and numbered verso Series of 30 unique variants ART-0001
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101 Wooster Street New York 10012 info@carolinanitsch.com +1 (212) 463-0610 www.carolinanitsch.com
CAROLINA
NITSCH
Art Basel 2022 Booth E2 +1 (646) 251-3804