Art Miami 2021 Catalog by David Benrimon Fine Art

BOOTH AM325

T A B L E

O F

C O N T E N T S

12.

17.

ABOUDIA

JAVIER CALLEJA

IAN DAVENPORT

LOIE HOLLOWELL

Untitled, 2021

Oh Oh #2, 2017

The Four Seasons: Winter, 2019

Linked Lingam in Green, Yellow, and Mauve, 2016

Acrylic, oilstick and mixed media collage on canvas

2. FERNANDO BOTERO Still Life with Green Bottle, 2002 Watercolor on paper

3. FERNANDO BOTERO Man on Horse, 1989 Bronze

4. FERNANDO BOTERO The Musicians, 2013

Mixed media on canvas

5. FERNANDO BOTERO Sparrow, 2007 Bronze

6. ALEXANDER CALDER Appearing Orbs, 1974

Gouache and ink on paper

Watercolor and pencil on paper 37 49/122h x 55 2/17w in

8. ALEJANDRO CARDENAS Untitled (Still Life), 2019 Acrylic on canvas

9. GEORGE CONDO Happy Birthday Diane, 1999

Marker on paper

10. GEORGE CONDO Expanding Color Painting, 1987 Oil on Canvas

11. IAN DAVENPORT Duplex Etching: Yellow, Orange, 2014 Etching with chine collé on Hahnemühle Bright White 300 gsm paper

Etching with chine collé on Hahnemühle Bright White 350 gsm paper

13. TAMARA DE LEMPICKA Abstract Composition in Red and Blue II, c. 1953 Oil on canvas

14. PETER HALLEY Time Lapse, 2014

Acrylic, fluorescent acrylic and roll-a-tex on canvas

15. DAMIEN HIRST L-Isoleucine T-Butyl Ester, 2018 Woodcut

16. DAVID HOCKNEY The Arrival of Spring in Woldgate, East Yorkshire in 2011, 2011 iPad drawing printed on paper

Oil on linen

18. LOIE HOLLOWELL Standing in Light & Standing in Shadow, 2018 Set of two ukiyo-e Japanese style woodcuts

19. SUSUMU KAMIJO In the Valley, 2020 Flashe on canvas

20. SUSUMU KAMIJO Poodle By The Sea, 2017 Oil Crayon and Pastel on Paper

21. KAWS UPS AND DOWNS, 2013 The complete set of 10 screenprints in colors on Saunders Waterford High White paper

22. YAYOI KUSAMA Tulipe (I), 2000

Screenprint with Lamé on BFK Rives paper

23. YAYOI KUSAMA Fruit Basket (5), 1999

Screenprint and lamé on Kakita-shi paper

24. YAYOI KUSAMA Flowers (1), 1999

Screenprint and lamé on Kakita-shi paper

25. YAYOI KUSAMA Nets 70, 1997

Acrylic on canvas

26. YAYOI KUSAMA Coffee Cup, 1985

Screenprint on Izumi paper

27. ROY LICHTENSTEIN Blue Lily Pads (C. 262), 1992

Screenprint in colors on processed and swirled stainless steel

28. JULIAN OPIE Red Yellow Black White ( from Standing People), 2020

Acrylic lenticular mounted on acrylic

29. JULIAN OPIE Yellow Black White Blue ( from Standing People), 2020

Acrylic lenticular mounted on acrylic

30. JULIAN OPIE Boston Statuettes, 2020 Patinated black bronze on Crema Grey stone bases

31. NICOLAS PARTY Speaker (TBC), 2017

Wood, metal mesh frame, gypsum plaster, acrylic and oil paint

32. NICOLAS PARTY

Two Pears, 2017

Scream, 2015

33.

39.

HILARY PECIS

MANOLO VALDES

Pyrenees Castle, 2019

Retrato de Dorothy IV,

Soft pastel on pastel card

Acrylic on Canvas

34. ED RUSCHA Mocha Standard, 1969

Oil on linen

2000

Oil, tape and burlap collage on burlap

40.

Screenprint

ANDY WARHOL

35.

Acrylic and silkscreen ink on canvas

ED RUSCHA Drib, 2015

Dry pigment and acrylic on paper

36. ED RUSCHA Sponge Puddle, 2015

Lithograph in colors on wove paper

37. KENNY SCHARF Headz, 2016

Oil on linen with powder coated aluminum frame

38. EMILY MAE SMITH

Dollar Sign, 1981

41. ANDY WARHOL Flowers (F. & S. II. 67), 1970

Screenprint

42. ANDY WARHOL Flowers (F. & S. II. 70), 1970

Screenprint in colors

43. JONAS WOOD Three Clippings, 2018

Mixografía relief prints in colors with embossing, on handmade paper

ABOUDIA Untitled, 2021

Acrylic, oilstick and mixed media collage on canvas 35h x 35w in 88.90h x 88.90w cm

“I believe it is very important that stylistic coherence should dominate the form of expression... Everything is rendered in the same fashion, therefore the whole work radiates a sense of unity, harmony, and coherence. That is what communicates its essential truth.” - Fernando Botero

Fernando Botero (b. 1932) is a Colombian figurative artist

FERNANDO BOTERO

Still Life with Green Bottle, 2002 Watercolor on paper 32 1/4h x 35 3/4w in 81.92h x 90.81w cm

and sculptor, best known for his ‘Boterismo’ style of depicting people and figures in large, exaggerated volumes. “Still Life with Green Bottle (Natura Morta con Bottiglia Verde)” is a beautifully rendered watercolor still life of a large blue teapot, green bottle, and fruits in front of an open window. Botero’s fascination with age-old artistic traditions extends from exploring the female form to still life, where he renders the classical themes in his signature rotund ‘Boterismo’ style. The exaggerated objects with large proportions pay homage to Botero’s European predecessors in a distinctly Latin American manner. This colorful and delicate watercolor on paper is both satirical and graceful, as it enchants and engages the viewer through art historical references of the still life, a theme dating back through time.

Botero’s works on paper have grown in demand over the

years. The whimsical objects in the drawings retain their robust and sensual forms with all the gracefulness of Botero’s paintings but are smaller and more approachable in his drawings. His mastery of voluptuous fleshy figures has become his trademark style and is immediately recognizable as Botero’s creations worldwide.

Fernando Botero (b. 1932) is a Colombian figurative artist

FERNANDO BOTERO Man on Horse, 1989

Bronze 20h x 15 1/2w x 32d in 50.80h x 39.37w x 81.28d cm

and sculptor, best known for his ‘Boterismo’ style of depicting people and figures in large, exaggerated volumes. “Man on Horse” is a stunning bronze sculpture of a suited man sitting on a robust horse. The man wears an intricately detailed suit and top hat while holding the horse’s reins while sitting on a saddle. This sculpture exemplifies Botero’s endless fascination with the age-old tradition of human forms. This classical depiction of a man on horseback is rendered in Botero’s rotund technique of ‘Boterismo,’ paying homage to his European predecessors in a distinctly Latin American style. The fleshy figure with large rounded proportions exemplifies Botero’s mastery of emphasis on volume and sensuality of form. This bronze is both satirical and graceful, as it enchants and engages the viewer through art historical references of the human form in sculpture, a theme dating back through time.

The whimsical proportions of “Man on Horse” are mirrored

in Botero’s other bronze sculptures of people and animals, such as Woman on Horse and Donna su Cavallo. Botero’s monumental public sculptures can be found on the streets of New York and Paris, among others. His mastery of voluptuous fleshy figures has become his trademark style and is immediately recognizable as Botero’s creations worldwide.

Fernando Botero (b. 1932) is a Colombian figurative artist

FERNANDO BOTERO The Musicians, 2013 Mixed media on canvas 48 3/4h x 37 3/8w in 123.83h x 94.93w cm

and sculptor, best known for his ‘Boterismo’ style of depicting people and figures in large, exaggerated volume. “The Musicians” is a beautifully rendered group of gentlemen gathered over a piano. Botero’s fascination with age-old artistic traditions extends from his exploration of the female form to still life, where he renders the classical themes in his signature rotund ‘Boterismo’ style. The exaggerated objects with large proportions pay homage to Botero’s European predecessors in a distinctly Latin American style. This colorful and delicate work on paper is both satirical and graceful, as it enchants and engages the viewer through art historical references of the still life, a theme dating back through time.

Botero’s works on paper have grown in demand over the

years. The whimsical objects in the drawings retain their robust and sensual forms with all the gracefulness of Botero’s paintings, but are smaller and more approachable in his drawings. His mastery of voluptuous fleshy figures has become his trademark style and is immediately recognizable as Botero’s creations around the world.

Fernando Botero (b. 1932) is a Colombian figurative artist

FERNANDO BOTERO Sparrow, 2007

Bronze 11 7/8h x 20w x 9 1/2d in 30.16h x 50.80w x 24.13d cm

and sculptor, best known for his ‘Boterismo’ style of depicting people and figures in large, exaggerated volumes. “Sparrow” is a stunning bronze sculpture of an oversized bird leaning forward. This sculpture exemplifies Botero’s endless fascination with the age-old tradition of celebrating nature. This classical depiction of a sparrow is rendered in Botero’s rotund technique of ‘Boterismo,’ paying homage to his European predecessors in a distinctly Latin American style. The fleshy figure with large rounded proportions exemplifies Botero’s mastery of emphasis on volume and sensuality of form. This bronze is both satirical and graceful, as it enchants and engages the viewer through art historical references of the human form in sculpture, a theme dating back through time.

Botero’s monumental public sculptures can be found on the streets of New York and Paris, among others. His mastery of voluptuous fleshy figures has become his trademark style and is immediately recognizable as Botero’s creations worldwide.

“The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them... spheres of different sizes, densities, colours and volumes, floating in space, traversing clouds, sprays of water, currents of air, viscosities and odours – of the greatest variety and disparity.” - Alexander Calder

ALEXANDER CALDER Appearing Orbs, 1974 Gouache and ink on paper 29 1/2h x 43 1/2w in 74.93h x 110.49w cm

Appearing Orbs is a whimsical work on paper that features

the same brand of abstraction as Calder’s kinetic mobiles made of delicate geometric shapes. Seeking to capture the constant motion of life, Calder created sculptures, mobiles, and many works on paper throughout his career. The visual language of angularity and kineticism in his sculptures and gouache paintings reveal Calder’s mastery of line, balance of composition, and preference for primary colors. Appearing Orbs synthesizes geometric forms with more earthly representational subjects of the Universe’s spheres, the solar system, orbs, and boulders. This gouache and ink on paper piece achieves Calder’s inimitable playfulness and wit with vibrant colors and dynamic forms.

Javier Calleja (b. 1971) is a Spanish-born figurative artist who is well known for his works of young subjects with oversized heads and wideset eyes. These characters have become a symbol of iconography in the art world because of Calleja’s refusal to interpret his work. He claims each viewer should

JAVIER CALLEJA Oh Oh #2, 2017

Watercolor and pencil on paper 37 49/122h x 55 2/17w in 95h x 140w cm

have their own reactions, although he does draw personal experiences and childhood memories into the themes of his pieces.

Calleja has an expansive international presence with solo shows in New York, Paris, Hong Kong, and Barcelona, to name a few. The above piece, Oh Oh #2, portrays a youthful character on theme with his figures that helped him gain an international reputation.

ALEJANDRO CARDENAS Untitled (Still Life), 2019 Acrylic on canvas 24h x 24w in 60.96h x 60.96w cm

Alejandro Cardenas (b. 1977, Chile) is a multi-media Los

Angeles-based artist known for illustrating, videography, graphic design, and textile work. Cardenas’s style comes from his early work as the lead textile director for fashion luxury brand Proenza Schouler. His work has been featured in The New York Times and Vogue.

George Condo (b. 1957) is an American contemporary artist known for his humorous compositions that fuse art history with a sensibility informed by American Pop culture. Expanded

GEORGE CONDO

Happy Birthday Diane, 1999 Marker on paper 20h x 17w in 50.80h x 43.18w cm

Color Painting’s imaginative canvas contains a diversity of Artistic influences as Condo applies various stylistic elements of Old and Modern Masters in one picture. Calvin Tompkins remarks, Condo has “used the language of his predecessors, their methods and techniques, and applied them to subjects they would never have painted” (C. Tompkins, “Portraits of Imaginary People”, New Yorker, 2011).

George Condo (b. 1957) is an American contemporary artist known for his humorous compositions that fuse art history with a sensibility informed by American Pop culture. Expanded

10.

GEORGE CONDO

Expanding Color Painting, 1987 Oil on Canvas 98 1/4h x 78 1/2w in 249.56h x 199.39w cm

Ian Davenport (b. 1966) is a London-based artist who is best known for his abstract color compositions and paintings with elegant dripping lines of color. Davenport studied at Goldsmiths College alongside Damien Hirst, Gary Hume and Sarah Lucas, and participated in Hirst’s 1988 ‘Freeze’ exhibition of artists who would later become loosely known at the YBA’s (Young British Artists).

11.

IAN DAVENPORT

Duplex Etching: Yellow, Orange, 2014

Etching with chine collé on Hahnemühle Bright White 300 gsm paper 45 3⁄4h x 44 1⁄4w in

Davenport’s

colorful etching with chine collé is a great example of his signature technique of creating vertical cascading lines that end at the bottom of the support in rich puddles of color. In his paintings, he applies the paint with a syringe and allows it to run down and pool, introducing elements of control and chance, and letting gravity and weight to play a part in the outcome of his work. This element of his practice pays homage to color field painters like Morris Louis. Davenport has also experimented with other everyday tools to apply paint, such as watering cans, electric fans and nails. His work is held in important museum collections worldwide, including the Tate, London, Museum of Modern Art, New York, and Centre Pompidou, Paris.

12.

IAN DAVENPORT

The Four Seasons: Winter, 2019 Etching with chine collé on Hahnemühle Bright White 350 gsm paper 45 1⁄4h x 44 1⁄2w in

Davenport’s

“Among a hundred paintings, you could recognize mine. My goal was: Do not copy. Create a new style, colours light and bright, return to elegance in my models.” – Tamara de Lempicka

Tamara de Lempicka (b. 1898) was a Polish painter who

13.

TAMARA DE LEMPICKA

Abstract Composition in Red and Blue II, c. 1953 Oil on canvas 45 5/8h x 35w in 115.89h x 88.90w cm

is best known for her polished Art-Deco portraits of aristocrats and her stylized paintings of nudes. In the post-war period, Lempicka constantly traveled between New York, Paris, Florence, Capri, Zurich, Monaco, Marrakech, and more. During this time, she searched for inspiration for her new artworks and began to reinterpret compositions in styles of various Modern masters. First, Lempicka plunged into abstraction - starting out with a composite style that gave each work a theme through the inclusion of a few figurative elements. Then, she gradually allowed the elements to merge into the abstraction and interlacing lines. As her abstract style matured, Lempicka produced more purely abstract compositions, with bold patches of color and geometric forms devoid of volume. “Abstract Composition in Red and Blue II” is a beautiful interlacing lines and faceted geometric forms of Cubism. Lempicka is renowned for her signature style and experimentation with abstraction, cubism, color, subject, and form.

Peter

Halley (b. 1953) is an American neo-conceptualist

artist who is recognized for his bright geometric large-scale paintings. He utilized a textured paint called Roll-a-Tex alongside neon Day-Glo paints to create his signature style. Halley has defined his compositions as a relationship between

14.

PETER HALLEY Time Lapse, 2014

Acrylic, fluorescent acrylic and roll-a-tex on canvas 77h x 70w in 195.58h x 177.80w cm

“prisons” and “cells” to create minimalistic and geometric pieces. “Time Lapse” displays a variety of bright, vibrant colors contained within square and rectangular shapes. Six larger boxes contain smaller ones within them, and “cells” within those. Halley graduated from Yale University and earned a MFA from the University of New Orleans. Halley’s work is represented in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Tate Modern in London.

“Imagine a world of points. Whenever I make a picture, it is as if a piece of this universe was carved out of it. They regenerate. They’re all connected.” – Damien Hirst

Pop

icon Damien Hirst’s colorful spot prints, such as

L-Isoleucine T-Butyl Ester, are emblematic of contemporary

15.

DAMIEN HIRST

L-Isoleucine T-Butyl Ester, 2018 Woodcut 46 1/2h x 33 3/4w in 118.11h x 85.72w cm

art. Hirst’s passion for color theory is exemplified in Isocytosine’s structure of pure dots, all equal in size and placed the same distance apart as the spots themselves, each a different color, and distributed randomly on the white background. Hirst uses the dot as a universal symbol that surpasses the boundaries of culture and language. There are over one thousand spot paintings and prints, each work different and named after a prescription medication. As a conceptual artist, Hirst titled the paintings after drugs because looking at the jolly works creates feeling and can conjure associated memories, like taking a pill.

David Hockney (b. 1937) is one of the most influential British artists of the 20th century, best known for his portraits of friends, swimming pools, and landscapes. Throughout his

16.

DAVID HOCKNEY

The Arrival of Spring in Woldgate, East Yorkshire in 2011, 2011 iPad drawing printed on paper 55h x 41 1/2w in 139.70h x 105.41w cm

career, Hockney has experimented with a variety of media from collaged photography to painting and printmaking. In 2009, Hockney started his iPad drawing series, which began when he started drawing with his thumbs on his iPhone. The following year in 2010, when the iPad was released, he began to use that technology to create colorful and bright images of landscapes, flowers, portraits, among other subjects.

Loie Hollowell (b. 1983) is a New York-based painter known for abstracting the female figure through light, volume, and geometric shape exploration. Within the past several years, she has become one of the most fiercely sought-after artists. Originating in autobiography and central to Hollowell’s practice is her unique exploration of sexuality through allusions to the female form and otherworldly landscapes, using symmetry, color, and abstract sacred iconography.

Linked Lingam in Green, Yellow, and Mauve is an exploration

17.

LOIE HOLLOWELL

Linked Lingam in Green, Yellow, and Mauve, 2016 Oil on linen 28h x 21w in 71.12h x 53.34w cm

of illusory space - two intertwined green obs mix together with a slight yellow glow in the center, surrounded by a mauve haze. Hollowell’s canvases are characterized by these radiating symmetrical silhouettes and pulsating color. Within each field of color, Hollowell creates complexity and depth through gradients and often uses high-density foam board and sawdust for an inter-dimensional quality. Precise brushwork of delicate swirls and subtle gradients are reminiscent of Georgia O’Keeffe.

Hollowell is also recognized for her paintings that evoke

bodily landscapes and the sensual essence of women’s bodies. She employs geometric shapes to move the female figure and its movements into abstraction. Hollowell’s style began in graduate school, where she explored the use of gradient staining techniques on cotton supports as a metaphor for intimate spaces, meditations on sleep and bodily fluids. These canvases evolved into paintings that introduce the female figure, as well as the use of reflection and mirroring. She once said, “In my head, my paintings are realistic depictions of bodies and actions. Even though I’m constantly trying to push the figure into an abstract space, I can never get the realism of where it originated out of my head.”

Loie

Hollowell is a New York-based painter, known for abstracting the female figure through explorations of light, volume, and geometric shape. Within the past several years, she has become one of the most fiercely sought-after artists. Originating in autobiography and central to Hollowell’s practice is her unique exploration of sexuality through allusions to the female form and otherworldly landscapes, using symmetry, color and abstract sacred iconography.

Standing in Light & Standing in Shadow is an exploration

of illusory space - two orange and blue obs alongside mauve and denim colored backgrounds. Hollowell’s canvases are characterized by these radiating symmetrical silhouettes and pulsating color. Within each field of color, Hollowell creates complexity and depth through gradients, and often uses high-density foam board and sawdust for an interdimensional quality. Precise brushwork of delicate swirls and subtle gradients are reminiscent of Georgia O’Keeffe.

18.

LOIE HOLLOWELL

Standing in Light & Standing in Shadow, 2018 Set of two ukiyo-e Japanese style woodcuts 46 1/2h x 33 3/4w in 118.11h x 85.72w cm

Hollowell is also recognized for her paintings that evoke

Loie Hollowell (b. 1983 in Woodland, CA) lives and works

in Brooklyn, NY. She earned a BFA from the University of California in 2005 and an MFA from Virginia Commonwealth University in 2012. Hollowell was the recipient of the Virginia Museum of Fine Arts Fellowship Award, a residency at the Constance Saltonstall Foundation for the Arts, and the Queens Art Fund Grant from the Queens Council on the Arts. Recent solo exhibitions include “Plumb Line” at Pace Gallery, New York and “One Opening Leads to Another” at GRIMM in Amsterdam. Her work resides in the collections of the Arts Council England, London, the Crystal Bridges Museum of American Art, and the David Roberts Art Foundation, London. 40

Susumu Kamijo (b. 1975) was born in Nagano, Japan, and

19.

SUSUMU KAMIJO In the Valley, 2020 Flashe on canvas 46h x 36w in 116.84h x 91.44w cm

moved to the US when he was sixteen. He is known for his bright, eccentric portraits of poodles which he has been exploring since 2014. In this piece, Kamijo turns the typically jubilant look of the poodle into a darker motif. The artist is influenced by a variety of artistic sources, such as Francis Bacon’s screaming pope paintings, Philip Guston’s smoking characters, and Willem de Kooning’s amorphic nudes. Kamijo explores the abstraction of familiar motifs such as animals and human faces through the distortion of color and shape. Kamijo’s use of block color and isolated shapes accrue into recognizable compositions with a hard-edged, graphic style. The varied texture is created through cross-hatching, repetitive patterning, and layering paint. Kamijo attests the blocked-out compositions of his work to ancient techniques of Japanese woodblock printing such as Ukiyo-e. Susumu Kamijo holds a BFA in Painting and Drawing at the University of Oregon in 2000, followed by an MFA in Painting and Drawing at the University of Washington in 2002. Kamijo has had solo exhibitions at Stems, Brussels (BE), G N Y P, Berlin (DE), Harper’s Books, New York (NY), Marvin Gardens, Queens (NY), and Masahiro Maki Gallery, Tokyo (JP). He currently lives and works in Brooklyn in the company of one Poodle And one Wire Fox Terrier.

Susumu Kamijo (b. 1975) was born in Nagano, Japan, and

20.

SUSUMU KAMIJO

Poodle By The Sea, 2017

Oil Crayon and Pastel on Paper 17h x 14w in 43.18h x 35.56w cm

KAWS (b. 1974, Jersey City, New Jersey; lives and works in

21.

KAWS

UPS AND DOWNS, 2013

The complete set of 10 screenprints in colors on Saunders Waterford High White paper 35h x 23w in. each 88.90h x 58.42w cm. each

Brooklyn, New York) is renowned for his prolific body of work that straddles the worlds of art and design to include paintings, murals, graphic and product design, street art, and large-scale sculptures. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. His refined graphic language revitalizes figuration with both big, bold gestures and playful intricacies.

KAWS often appropriates and draws inspiration from pop

culture animations, forming a unique artistic vocabulary across mediums. Admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’s cast of hybrid cartoon characters are the strongest examples of his exploration of humanity. As seen in his collaborations with global brands, the artist’s imagery possesses a sophisticated humor and reveals a thoughtful interplay with consumer products. With their broad appeal, KAWS’s artworks are highly sought-after by collectors inside and outside of the art world, establishing him as a uniquely prominent artist and influence in today’s culture.

Yayoi

Kusama is one of the most important post-war female artists who is recognized for her artistic concepts of infinity, eternity, love and obliteration, and signature use of infinity nets, polka dots and pumpkins. Kusama’s lifelong fascination with the natural world is revealed through flowers’ prominence in her oeuvre. Kusama was born in Matsumoto City to an established family who owned and ran a seed farm. Surrounded by the towering mountain ranges of the Japanese Alps, the family business and residence had an expanse of flowerbeds where they cultivated seedlings. Kusama remembers: “My family was an old one, of high social standing, having for the past century or so managed wholesale seed nurseries on vast tracts of land. Each day a crowd of workers came to collect the seeds of violets or zinnias or whatever it might be, for resale all over Japan. We had six large hothouses, which were so rare in those days that sometimes groups of schoolchildren came on field trips to look at them.”

22.

YAYOI KUSAMA Tulipe (I), 2000

Screenprint with Lamé on BFK Rives paper 25 5/8h x 19 5/8w in 65.09h x 49.85w cm

a child, Kusama spent time sketching among the blossoming flowers. These early botanical drawings, created when she was a teenager, feature close-up views of petals and stalks with notes of how buds might develop and grow. She was interested in how their colors and patterns would change through their life cycle. Kusama’s prints also feature chains of cellular forms that resemble magnified sections of plant stalks. At this time, Kusama began experiencing visions and auditory hallucinations involving flowers talking and infinitely expanding in all directions. “One day, when I was a little girl, I found myself trembling, all over my body, with fear, amid flowers, incarnate, which had appeared all of a sudden. I was surrounded by several hundreds of violets in a flower garden. The violets, with uncanny expressions, were chatting among themselves just like human beings. No sooner had they and I had spiritual dialogues than I became infatuated with them, drawn into the glitter of illusion, away from this world. This was not an illusion but the real world, I told myself.”

For Kusama, art is a method of self healing and she creates

imagery from her hallucinations. Flowers are crucial to her practice and appear across mediums in her paintings, prints, and sculptures. Her flower sculptures have appeared around the world in a variety of intriguing settings, installed at sculpture parks, Louis Vuitton stores and everything between. Kusama recently collaborated with Veuve Clicquot on a flower-covered limited edition champagne, and currently has an exhibition at the New York Botanical Gardens where she will physically wrap trees and install monumental flower sculptures among the garden. 48

Kusama has depicted fruit baskets and grapes throughout

23.

YAYOI KUSAMA

Fruit Basket (5), 1999

Screenprint and lamé on Kakita-shi paper 23⅝h × 26¾w in 60h × 68w cm

her body of work. Fruit and nature imagery is retained from Kusama’s childhood home in Matsumoto, Japan, where her family had wholesale seed nurseries and fields. When much of Japan’s food supply was disrupted during World War II, the Kusama family storehouse was apparently always full of produce. In the late 1970s, Kusama shifted her mode of expression - moving away from abstract themes to concrete motifs. Her artwork began to incorporate pumpkins, grapes, and flowers covered in colorful nets and polka dots. In 1979, Kusama made her first two prints, which depict vegetables and shoes in the field. One of these early colorful screenprints, “Standing in the Visionary Field,” shows carrots, apples, bananas, grapes, and cherries floating among infinity-nets. The fruit’s symbolism of life, plenty, and growth appeal to Kusama’s aesthetic of nature, abundance, and love.

Kusama’s bowls of fruits also play on the traditional genre of still life. Her fruit baskets portray beautifully arranged mushrooms, zucchini, figs, pumpkin, pears, cherries, and grapes. Similar to her pumpkins, Each fruit is delineated using bricks, nets, and multi-striated polka dots that give the items depth and define their forms.

Yayoi

24.

YAYOI KUSAMA Flowers (1), 1999

Screenprint and lamé on Kakita-shi paper 27½h × 23¼w in 70h × 59w cm

Kusama is one of the most important post-war female artists who is recognized for her artistic concepts of infinity, eternity, love and obliteration, and signature use of infinity nets, polka dots, and pumpkins. Kusama’s lifelong fascination with the natural world is revealed through flowers’ prominence in her oeuvre. Kusama was born in Matsumoto City to an established family who owned and ran a seed farm. Surrounded by the towering mountain ranges of the Japanese Alps, the family business and residence had an expanse of flowerbeds where they cultivated seedlings. As a child, Kusama spent time sketching among the blossoming flowers. These early botanical drawings, created when she was a teenager, feature close-up views of petals and stalks with notes of how buds might develop and grow. She was interested in how their colors and patterns would change through their life cycle. Kusama’s prints also feature chains of cellular forms that resemble magnified sections of plant stalks.

For Kusama, art is a method of self-healing, and she creates

imagery from her hallucinations. Flowers are crucial to her practice and appear across mediums in her paintings, prints, and sculptures. Her flower sculptures have appeared worldwide in various intriguing settings, installed at sculpture parks, Louis Vuitton stores, and everything between. Kusama recently collaborated with Veuve Clicquot on flower-covered limited edition champagne and currently has an exhibition at the New York Botanical Gardens where she will physically wrap trees and install monumental flower sculptures among the garden.

25.

YAYOI KUSAMA Nets 70, 1997 Acrylic on canvas 12 3/4h x 16 1/4w in 32.38h x 41.27w cm

26.

YAYOI KUSAMA Coffee Cup, 1985

Screenprint on Izumi paper 24h x 21w in 61h x 53.5w cm

Landscapes

27.

ROY LICHTENSTEIN

Blue Lily Pads (C. 262), 1992

Screenprint in colors on processed and swirled stainless steel 43 1/2h x 38 1/2w in 110.49h x 97.79w cm

were the first time-honored art genre Lichtenstein turned to after his comic-inspired Pop prints of the early 1960s. Inspired by Monet, Lichtenstein furthered the Impressionist’s exploration of light with a contemporary sensibility. Lichtenstein screenprinted solid blocks of colored sign-painter’s enamel on stainless steel to create an appearance of reflected water. Although not fully apparent in photographs, the water-lilies constantly transmogrify light and color as they engage with their surroundings, shifting and changing as the work is viewed from different angles. This immersive quality recalls Monet’s engrossing and vast canvases of ponds and lily pads that envelope the viewer. This fascination with water-lilies is a motif found throughout Lichtenstein’s oeuvre, such as in his water-lilies and Mirror series.

addition to lessons of light, Lichtenstein expanded Monet’s rejection of illusory perspective by using his comic style and careful composition. Blue Lily Pads (C. 262) reverses the traditional ideas of perspective and compositional order by eliminating depth with flattened forms and having an interchangeable foreground and background.

Lichtenstein parodied Monet’s masterworks throughout his

career, such as in Cathedrals and Haystacks in 1969, rendering them with a mass-produced quality like a machine made an impressionist painting. Lichtenstein once noted, “Instead, say, of thick and thin paint which might be the European sensibility, I’m using flat areas of color as opposed to dotted areas which imitate Benday dots in printing and become and industrialized texture rather than what we’re familiar with as a paint texture.”

Julian Opie is a British artist internationally known for his

bright, simplistic and stylized expression of human figures, animals and landscape. In his distinctive style, Opie is an artist of contemporary life. He depicts normal everyday experiences of the world and reduces his surroundings to schematic blocks of colors in constant motion. Taking inspiration from classical portraiture, Japanese woodblock, billboard signs and cartoons, he depicts animated portraits and walking figures with minimal detail, thick black outlines, and reduced color palettes. Blending Pop Art and Minimalism with a contemporary sensibility, Opie captures the essence of his subjects in a few planes of color, circles and lines, revealing what makes them unique. Throughout his decadeslong career, Opie has developed his signature aesthetic across a variety of media, including painting, sculpture, prints, multiples, and digital installations that incorporate LED technology.

Standing People is a series of six lenticular acrylic panels on

28.

JULIAN OPIE

Red Yellow Black White (from Standing People), 2020 Acrylic lenticular mounted on acrylic 43 3/4h x 46 3/4w x 1 1/4d in 111.13h x 118.75w x 3.17d cm

white acrylic mounts that depicts one of Opie’s signature subjects - standing and walking people - in his minimal and graphic aesthetic. With a fascination for man’s visual and spatial environments, the artist focuses on the dynamics of movement in everyday life. Opie uses the 21st century method of lenticular printing, which produces the printed images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. The four standing people in each work, each in their own color, move with the viewer as if waiting on the bustling streets of a city. ‘Standing People’ is a reflection of our own everyday, and captures the artist’s skill in distilling the commonplace experience of life into concise works which still blaze with profundity and emotion.

Julian Opie is often identified as part of the New British

Sculpture Movement - a group of British artists who began exhibiting sculpture in the 1980s, which includes Anish Kapoor and Tony Cragg. He emerged as an influential artist in that burgeoning art scene when he produced a series of painted metal sculptures that humorously combined painted imagery with steel shapes. Born in London in 1958, Opie studied at Goldsmiths College in London under Michael CraigMartin. He has had numerous exhibitions around the world including the Neues Museum in Nuremberg, Germany (2003), the Kunsthalle Helsinki in Finland (2015) and the National Portrait Gallery in London (2017). His work is featured in many prominent museums around the world including MoMA in New York, the British Museum in London, and MoMAT in Tokyo.

Julian Opie is a British artist internationally known for his

Standing People is a series of six lenticular acrylic panels on

29.

JULIAN OPIE

Yellow Black White Blue (from Standing People), 2020 Acrylic lenticular mounted on acrylic 43 3/4h x 46 3/4w x 1 1/4d in 111.13h x 118.75w x 3.17d cm

Julian Opie is often identified as part of the New British

Julian Opie (b. 1958) is a British artist internationally known

30.

JULIAN OPIE

Boston Statuettes, 2020

Patinated black bronze on Crema Grey stone bases Averaging at 20h x 5w x 7d each Avaraging at 50.80h x 12.06w x 17.14d cm each

for his bright, simplistic and stylized expression of human figures, animals and landscape. In his distinctive style, he depicts everyday experiences from contemporary life and reduces his surroundings to schematic blocks of colors in constant motion. This work is from Opie’s “Boston Statuettes” series of patinated black bronze sculptures on a Crema Grey stone base that depicts different people in his minimal and graphic aesthetic. For Opie, it is the accessories, such as a hairstyle, clothes or headphones, that are more important than the person’s face and its features. He once noted that when we pass someone on the street we only know their style and their type. This series exemplifies the Opie’s skill in distilling the commonplace experience of life into concise works which still blaze with profundity and emotion.

His work currently resides in The Museum of Modern Art

in New York, the National Portrait Gallery in London, the Stedelijk Museum in Amsterdam, and others. Opie lives and works in his hometown of London, United Kingdom.

“I don’t have much interest in what could be labeled as ‘reality’. I’m more interested in the signs, symbols and codes we’ve created for reality.” - Nicolas Party

Nicolas Party (b. 1980) is a Swiss-born contemporary painter

31.

NICOLAS PARTY Speaker (TBC), 2017

Wood, metal mesh frame, gypsum plaster, acrylic and oil paint 55 1/8h x 55 1/8w x 78 3/4d in 140.02h x 140.02w x 200.03d cm

who has received international critical acclaim for his bright portraits, playful still lifes, and dreamy landscapes. His colorful compositions are as inventive as they are familiar, as he combines old and classical themes with the new, infusing his compositions in luxurious, otherworldly hues. Party’s soft pastel “Two Pears” of laying and bowing fruits, executed in 2017, is an excellent example of the artist’s distinctive practice. It epitomizes his unique visual lexicon of representation and abstraction, observation and imagination, and pictorial flatness and volumetric forms. Using soft chalk pastels as his signature medium, Party transforms the timeless genre of still life into abstracted biomorphic and sensually suggestive shapes for the contemporary era.

Nicolas Party received his MA degree from The Glasgow

School of Art in 2009 and currently lives and works in Brussels and New York City. In addition to pastels, Party works across various medias, including painted sculptures, installations, prints, drawings, and works as a curator. The artist has been subject of numerous solo exhibitions at prestigious institutions worldwide: Pastel at the FLAG Art Foundation, New York (2019); Nicolas Party at Marble House at the Marble House, Newport, RI (2019); Arches at M WOODS, Beijing (2018-2019); Magritte Parti at the Magritte Museum, Brussels (2018); and Sunrise, Sunset at the Hirshhorn Museum and Sculpture Garden in Washington DC (2017).

“I don’t have much interest in what could be labeled as ‘reality’. I’m more interested in the signs, symbols and codes we’ve created for reality.” - Nicolas Party

Nicolas Party (b. 1980) is a Swiss-born contemporary painter

32.

NICOLAS PARTY Two Pears, 2017

Soft pastel on pastel card 23 5/8h x 23 5/8w in 60.01h x 60.01w cm

Nicolas Party received his MA degree from The Glasgow

Hilary Pecis (b. 1979) is a California-based contemporary artist who focuses on brightly colored still lives of ordinary objects. Her vibrant yet naturalistic palette allows her to

33.

HILARY PECIS

capture everything from books around her house to oceanic

Acrylic on Canvas 40h x 36w in 101.60h x 91.44w cm

landscapes while maintaining consistency in her style. Along

Pyrenees Castle, 2019

with having shows in New York, London, Tokyo, Beijing, and beyond, she also is a woman in the arts activist. In 2017, Pecis was a founding member of Binder of Women, a Los Angelesbased collection of female artists.

Born in 1937 in Omaha, Nebraska, Ed Ruscha grew up in

Oklahoma City before moving to Los Angeles in 1956 to study art at the Chouinard Institute (now known as CALARTS). Through his work for ad agencies, Ruscha honed his skills in design and layout, which became integral to his oeuvre across all media. Ruscha looked to tropes of advertising and brought words to the forefront of his paintings. In speaking about his renowned use of words, Ruscha said, “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.”

Ruscha began his famous series of word paintings in the

34.

ED RUSCHA

Mocha Standard, 1969 Screenprint 24 7/8h x 40w in 63.18h x 101.60w cm

1960s, depicting various views of the Hollywood sign, logos of movie studios and roadside views of gas stations. In his early 20s, he made numerous trips home along Route 66, passing the countless filling stations that punctuated the route’s entire length and photographing them along his drives.

Throughout

the rest of his career, his work became increasingly more abstracted, placing ambiguous phrases on vistas, highways and monochrome backgrounds. Recognized for creative paintings and drawings with unusual materials such as gunpowder, blood and Pepto Bismol, Ruscha continues to underscore the deterioration of language. His oeuvre includes paintings, drawings, prints, photographs, artist’s books and films, and is in the collections of major national and international museums. Beyond his numerous museum retrospectives, Ruscha also represented the United States at the 35th and 51st Venice Biennale with Chocolate Room in 1970 and Course of Empire in 2005, propelling him to even greater international recognition.

“I had a notion to make pictures by using words and presenting them in some way and it seemed like a mountain was an archetypal stage set. It was a perfect foil for whatever was happening in the foreground.” - Ed Ruscha

Ed Ruscha (b.1937) is an American artist whose decades-long

career melds Pop Art iconography and Conceptual Art. He is

35.

ED RUSCHA Drib, 2015

Dry pigment and acrylic on paper 11 1/4h x 15w in 28.57h x 38.10w cm

best known for his ‘word paintings’ of single words or short phrases floating in the composition’s middle. The exploration of text, semantics, and image reflects Ruscha’s early training in commercial graphic design and his engagement with the American vernacular. “Sponge Puddle” is from Ruscha’s Mountain Print series that superimposes clean text upon landscapes, a motif he began in the 1980s. For Ruscha, the snow-capped mountains are a gesture to his hometown of Los Angeles and the great American West. This print was published by Hamilton Press, a workshop founded by Ed Ruscha and master printer Ed Hamilton in 1990.

Ed Ruscha (b.1937) is an American artist whose decades-long

career melds Pop Art iconography and Conceptual Art. He is

36.

ED RUSCHA

best known for his ‘word paintings’ of single words or short

Lithograph in colors on wove paper 29h x 28w in 73.66h x 71.12w cm

of text, semantics, and image reflects Ruscha’s early training

Sponge Puddle, 2015

phrases floating in the composition’s middle. The exploration in commercial graphic design and his engagement with the American vernacular. “Sponge Puddle” is from Ruscha’s Mountain Print series that superimposes clean text upon landscapes, a motif he began in the 1980s. For Ruscha, the snow-capped mountains are a gesture to his hometown of Los Angeles and the great American West. This print was published by Hamilton Press, a workshop founded by Ed Ruscha and master printer Ed Hamilton in 1990.

37.

KENNY SCHARF Headz, 2016

Oil on linen with powder coated aluminum frame 48 3/4h x 34 3/4w in

Emily Mae Smith (b.1979) is an Austin, Texas-born Brooklyn

38.

EMILY MAE SMITH Scream, 2015 Oil on linen 48h x 37w in 121.92h x 93.98w cm

located contemporary artist whose playful commentary and unusual subject matter subtly nod to the deep-rooted issues in America’s capitalistic and sexist society. Her main subject, the cartoon broomstick, is an indirect reference to women’s housework and the phallus. By combining historically prevalent painting styles such as surrealism and pop art, Smith offers sly social and political commentary while producing lively and color-focused pieces. Scream portrays her anthropomorphic broomstick character behind a deteriorating brick wall. The subject seems surprised and frightened as their mouth is open and they are holding their mustache. After completion in 2015, Smith allows the viewers to contemplate the connection to contemporary social and political issues.

Smith received her MFA from Columbia University and has

exhibited in New York, Los Angeles, Tokyo, Berlin, Brussels, and beyond. In addition, her work belongs to multiple public collections, including the Whitney Museum of American Art, the Dallas Museum of Art, and the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, among others.

Exquisitely rendered with layers of burlap covered in vibrant

39.

MANOLO VALDES

Retrato de Dorothy IV, 2000

Oil, tape and burlap collage on burlap 91h x 75w in 231.14h x 190.50w cm

swaths of impasto paint, Retrato de Dorothy IV, 2000, is a monumental example of Manolo Valdés’ signature multifaceted portraits. Deeply influenced by Old Masters such as Diego Velázquez, as well as twentieth-century titans such as Henri Matisse and Pablo Picasso, Valdés developed his own unique visual language that pays homage to his predecessors and is distinctly grounded in his Spanish heritage.

Retrato de Dorothy IV, an elegant female subject is rendered on a scale akin to history painting which belies the humble materials of its execution. “I am just a narrator who comments on the history of painting in various ways, using new materials: it is like a game that consists of changing the code and the key to the artwork,” Valdés explained. “Many of my colors, materials and textures are the product of relived experiences of other masters. My painting involves much reflection.”i In Retrato de Dorothy IV, Valdés exquisitely marries figuration and abstraction, materiality and form, embodying the tactile richness for which the artist is renowned.

“I’d asked around 10 or 15 people for suggestions. Finally one lady friend asked the right question, ‘Well, what do you love most?’ That’s how I started painting money.” - Andy Warhol 1962

The Dollar Sign is one of Andy Warhol’s most celebrated

bodies of work that exemplifies the artist’s fixation on money, fame, wealth, and glamour. Like Warhol’s other famous themes of Coca-Cola and Hollywood celebrities, he elevates the everyday symbol of consumerism into an icon and fine art. He isolated the “$” from the dollar bill and enlarged it to create an archetypal symbol that conveys the American dream’s desire, greed, and relentless pursuit of wealth. Warhol rendered the dollar sign in highkeyed light blue, red and yellow colors and created the image with multiple overlaid screens, all of which distill the concept of wealth and power into a wavering “$” sign.

At the beginning of the Pop-art era in the 1960s, Warhol

40.

ANDY WARHOL Dollar Sign, 1981

Acrylic and silkscreen ink on canvas 10h x 8w in 25.40h x 20.32w cm

translated the image of the American Dollar onto canvas, starting a lifelong fascination with money as a ubiquitous symbol of wealth, power, and status. Warhol’s background drew him to the subject, as his childhood was spent in depression-era industrial Pittsburg before moving to New York City. Also, through the 1960-the 1980s, Warhol saw a transformation of the US free market and

the growth of American capitalism; just as he depicted items of consumer culture like Campbell’s Soup and Brillo Boxes, the Dollar Sign captures the American economy. Throughout his career, Warhol openly acknowledged his love of money and incorporated the motif into his art. He first depicted the one-dollar bill in the early 1960s, which revealed the significance of money as a decorative element and social signifier of success. Then in the early 1980s, at a mature moment in his career when he was revisiting earlier themes, Warhol returned to money imagery, culminating in the production of a whole series of drawings, paintings, and prints of the Dollar Sign. The symbol Warhol used was based on an ink drawing of a dollar sign by Warhol himself. These Dollar Sign paintings were first exhibited at Leo Castelli’s New York City gallery in 1982, where the works were installed as an endless succession of dollar signs on the wall in bright Pop colors. 84

Andy

Warhol’s Flowers embody one of his most iconic bodies of work and has become a touchstone of classic American Pop. In the period of the 1960s extending into the early 1970s, Warhol produced his most renowned work that used everyday consumer objects as subjects, like Campbell’s soup cans, Marilyn Monries, Dollar Signs, Coca Cola Bottles and Disasters. Warhol began his Flower series in 1964, when he had been catapulted to the highest ranks of the global contemporary art scene. Flowers further mark a pivotal point in Warhol’s career – one in which his choice of subject matter shifted from the famed and gloried to the mundane. That summer, he executed a series of 24, 48 and 82 inch canvases for an exhibition with his new dealer Leo Castelli that November in New York. The show was installed as large grids. It was an immediate success and sold out. In 1970, Warhol created a portfolio of ten screenprints on paper, all in various technicolor combinations.

Flowers

41.

ANDY WARHOL

Flowers (F. & S. II. 67), 1970 Screenprint 36h x 36w in 91.44h x 91.44w cm

epitomizes Warhol’s signature Pop style of appropriating popular everyday imagery. The flower image was based on a color photograph of seven hibiscus flowers taken by Patricia Caulfield that was published in the June 1964 issue of Modern Photography magazine. The editor’s image was of 7 blossoms in an arrangement at a Barbados restaurant. Warhol cropped and rotated the photo to create a perfect composition of four flowers on a square so that it could be viewed from any orientation. In 1966, Caulfield sued the artist for unauthorized use, introducing questions of authenticity and authorship to Warhol’s’ oeuvre (they came to a settlement where the artist paid Caulfield a royalty on each Flowers painting and gave her two paintings, one to pay her attorney. This allowed him to keep using the Flower image).

In 1970, Warhol created a portfolio of 10 screenprints on

paper of the Flower composition. He used silkscreen printing - a mechanical art style typically only used for commercial art to render a subject so natural and delicate is a paradox. The seriality of flower images alludes to the repetition of mass-produced commodity goods. Warhol takes the flower and reproduces it in color, transforming an everyday object into chic Pop Art; a practice also seen in the Campbell’s Soup and Ads series. The portfolio also references still life compositions whose traditional subjects are flowers. Rather than employing shading and depth, Warhol flattened the blossoms into swaths of pink and yellow, and separated them from stem and ground, sitting in beds of grass. All of the prints are the same composition, but each was copied and enhanced with different contrasting colors.

Andy

Flowers

42.

ANDY WARHOL

Flowers (F. & S. II. 70), 1970 Screenprint in colors 36h x 36w in 91.44h x 91.44w cm

In 1970, Warhol created a portfolio of 10 screenprints on

Jonas Wood (b. 1977) is a contemporary Los-Angeles based

43.

JONAS WOOD

Three Clippings, 2018

Mixografía relief prints in colors with embossing, on handmade paper 40h x 32w in (each)

artist known for his graphic and colorful depictions of portraits, interiors, plants and still lifes. His subjects are his immediate surroundings - family and friends, domestic and studio spaces, tabletop arrangements of his wife Shio Kusaka’s ceramic vessels and plants, landscapes, and sport scenes. “Three Clippings” is a suite of prints Wood created as his first collaboration with Mixographia - a workshop specializing in the Mixographia printing technique that produces prints in relief for texture and dimensionality. The three images were derived from Wood’s clipping series, in which he ‘clipped’ plant imagery from previous works and re-contextualized them as isolated subjects. These works are created with layered leaves and overlapping petals that protrude from the surface in a low relief.

Today,

Jonas Wood’s works reside in the permanent collections of the Hammer Museum in Los Angeles, the Saatchi Gallery in London, and The Museum of Modern Art in New York, among others.

THE FULLER BUILDING 41 EAST 57TH STREET, SECOND FLOOR NEW YORK, NY 10022