Fierce Creativity 2014 by Artists for Peace and Justice

2014

FIERCE C R E AT I V I T Y CURATED BY

CHUCK CLOSE AND JESSICA CRAIG-MARTIN

This publication accompanies the exhibition FIERCE CREATIVITY at Pace Gallery 57th St. October 21 - 25, 2014 Published by Artists for Peace and Justice 2014 Physical copies printed in the USA in a limited edition Artists for Peace and Justice 87 Walker St 6B New York, NY 10013 www.apjnow.org

PRESENTED BY

CURATED BY

Chuck Close and Jessica Craig-Martin WITH TEXT BY

David Rimanelli

EXHIBITION

October 21 - 25, 2014

32 East 57th Street, NYC

BOARD OF DIRECTORS, USA

ADVISORY BOARD

CORE INVESTORS

Paul Haggis Dr. Bob Arnot David Belle Gerard Butler Dr. Reza Nabavian Deborah Rennard Ben Stiller Madeleine Stowe Olivia Wilde

Simon Baker + Rebecca Rigg Javier Bardem Todd Barrato Maria Bello Alixe Boyer Adrien Brody Josh Brolin Pierce Brosnan Jackson Browne Jim Clark + Kristy Hinze Chuck Close Daniel Craig Jessica Craig-Martin Russell Crowe Penelope Cruz David + Kate Daniels Clint Eastwood Dina Eastwood Mark Evans Shepard + Amanda Fairey Frances Fisher Jane Fonda Dr. Henri Ford James Franco David + Alison Heden Gale Anne Hurd Jimmy Jean-Louis Milla Jovovich Ryan Kavanaugh Nicole Kidman + Keith Urban Diane Lane Jude Law Dana Maksimovich AnnaLynne McCord Pascal Raffy Martha Rogers Susan Sarandon Lekha Singh Michael Stahl-David Carlo Traglio Charlize Theron Peter + Amy Tunney Jonathan Vilma

Bovet 1822 Carter Lay Sean Parker

BOARD OF DIRECTORS, CANADA Paul Haggis David Belle Natasha Koifman Dr. Reza Nabavian George Stroumboulopoulos

AMBASSADORS Moran Atias Roger Edwards Daya Fernandez Steve Hawthorne Ronnie Madra Johnny Ryan, Jr. John Shattuck

EXHIBITION COMMITTEE

ARTISTS

Hope Atherton Anne Bass David Belle Fabiola Beracasa Beckman Stefania Bortolami Cecily Brown Gavin Brown Ivy Crewdson Clarissa Dalrymple Stacy Engman Mark Fletcher James and Maya Frey Thelma Golden Jeanne Greenberg Rohatyn Paul Haggis Jan Hashey Kim Heirston Philippe Laumont Julian Lethbridge Tobias Meyer Yasuo Minagawa Pascal Raffy Andrea Rosen Amy Sacco John Silberman Amy Todd Middleton Carlo Traglio Peter Tunney Leo Villareal and Yvonne Force Villareal

Rita Ackermann Huma Bhabha Sanford Biggers Cecily Brown Tom Burr Chuck Close Anne Collier Jessica Craig-Martin Michael Craig-Martin Martin Creed Gregory Crewdson John Currin Urs Fischer Liam Gillick Katy Grannan Damien Hirst Jonathan Horowitz Jasper Johns Joan Jonas Alex Katz Julian Lethbridge Malerie Marder Mary Ellen Mark Adam McEwen Josephine Meckseper Marilyn Minter Rob Pruitt Theo Rosenblum and Chelsea Seltzer Mika Rottenberg Jackie Saccoccio David Salle Joel Shapiro Cindy Sherman Laurie Simmons Lorna Simpson Kiki Smith Billy Sullivan Rirkrit Tiravanija Peter Tunney Jack Tworkov Charline von Heyl Kara Walker William Wegman Aaron Young Zhang Huan

Foreword Imagine a renowned artist, at their studio in London or New York, fiercely creating a bold new piece of work to share with the world. Now imagine a child living a world away, in a tin shack in the middle of a dreadful slum, fiercely trying to create an opportunity to escape the heinous poverty they were born into. This exhibition is unusual. It brings together the renowned artist and the struggling child. It will exist only five days but have an impact that lasts lifetimes. Each piece of work in this collection is poised to change lives – lives of kids, who if given the opportunity, can free themselves from the horrors of endemic poverty when provided access to one very simple but powerful weapon: education. These magnificent artworks are the fuel for that powerful weapon. Each piece sold will help us at Artists for Peace and Justice to strengthen and grow two remarkable institutions in Haiti: The Academy for Peace and Justice and Artists Institute, the nation’s largest free high school and only free college. Collectively we serve thousands of young people who, without these schools, wouldn’t make it beyond the 5th grade.

Give the child in the tin shack access to what her parents never had – high school and college education – and the child’s future will be different. Diplomas carry those holding them out of the slums forever, and with this exhibition we are all boldly helping to demolish the barriers imposed by endemic poverty. There is a great deal of wonderful artwork here from a diverse and exceptional group of leading artists. Their work will enrich so many lives, from the collectors, to the viewers, to the children, again and again. The ripple effect of this show is beautiful and potent, one that we hope will be felt for a long time to come. Our immense respect and gratitude goes to Chuck Close, Jessica CraigMartin and the small army of spectacular, generous talent and partners who have made this all possible. The spirit of Artists for Peace and Justice is more alive than ever. - Artists for Peace and Justice

Introduction Turn on the news, open an email, or read a blog and you will quickly find that the conflicts swirling around our human family are frightening and inescapable. Thankfully, there are many people who are brave and selfless. They walk towards the danger and conflict to provide care, refuge, and solutions. But still, many charitable requests and campaigns these days leave us wondering if the contributions we make will actually reach those in need. For us, Artists for Peace and Justice is different. We’ve both been directly involved in APJ and know the work first hand. APJ is focused on results. There’s no big bureaucracy and no exorbitant administrative costs. At APJ we see vital schools that grow each year with more buildings, improved programs and increased scholarships.

Fierce Creativity will ensure this important progress continues. Together we are strengthening and growing vibrant institutional beacons of hope and opportunity. Together we are providing Haiti’s talented youth with access to the training and tools they need to climb out of poverty on their own. We are honored by the presence of so many talented and generous friends who have joined us. Our actions today, in this bold new world, require us more than ever to act together, to use our voices and our talents to help usher progress and solutions forward. We must do so quite fiercely, if we are to make a real difference. - Chuck Close and Jessica Craig-Martin

Personal Statement I would like to express deepest gratitude on behalf of everyone at APJ to all the artists who have contributed. Those who gave this year will not be asked to contribute again as a gesture of thanks and to express that we understand how meaningful each donation is for an artist to make. It would not have been possible for me to ask people to contribute if I did not believe in the organizationâ&#x20AC;&#x2122;s effectiveness and in the new template it brings to the charity world. It is also a cause that I think artists should be involved in, as there are none of us who could refute every childâ&#x20AC;&#x2122;s right to a good and a free education. I would like to tell you briefly how I came to be involved in APJ. After photographing a lifestyle shoot for Harperâ&#x20AC;&#x2122;s Bazaar in Miami, which included a double page spread of the mega-rich ladies of Fishers Island standing next to their monogrammed gold Mercedes golf carts in couture ball gowns and full jewelry in front of their members only country club, I took a spontaneous flight to Haiti. I had been interested in Haiti for some years. I had followed the scandals and expulsion of the dictator Baby Doc and his wife Michele Duvalier, the rise and fall

of Aristide, seen the films of Maya Deren and read the stories of Edwige Danticat. I had also heard tempting tales about the Hotel Oloffson, a much storied and shambolic gingerbread style hotel in Port-auPrince where Graham Greene wrote and set The Comedians. The journey to Port-au-Prince from Miami is just 55 minutes by plane, yet when I arrived into the heat and clamor of the city I was in a state of complete shock. The shift of context was so great that the ride from the airport to the hotel remains indelible, 15 years later. Thousands of people teemed through the streets on every kind of conveyance, carrying something to sell to someone in another part of town, or so it seemed. The frantic pace of the city, the filth, the side streets filled with detritus, the children with neatly cornrowed hair in rags, the stink of diesel and rotting garbage, all still vivid. The city seemed to be a vast organism in which frantic movement was required by all denizens in order for each to get just the needed amount of food a day through hustling whatever was at hand. An endless pattern of recycling: a can of petrol here, some used clothes there, tinned sardines, old tires, a few sacks of rice.

Although I had traveled extensively, I had never seen a place that moved to this rhythm and in so much squalor on such an epic scale. This poverty was on an entirely different level. How could it be allowed to continue, just minutes by air from the wealthiest country in the world? I was also impressed and interested in the fantastic music, artwork, and religious and creative joy of these very complex people, whose lives were so burdened with survival. I was booked to return to New York, but the Haitian people were angry about recent local elections and the airport road was blocked with protesters and burning tires. My three days turned into three weeks. I traveled back to Haiti several times during the following years, eventually finding a way to put my limited skills to use. I found that I could combine my accumulation of experiences and channel them into APJ allowing me to see that real change can occur when the energy of like-minded people is harnessed and focused on meaningful and manageable goals. - Jessica Craig-Martin

Contents Rita Ackermann Huma Bhabha Sanford Biggers Cecily Brown Tom Burr Chuck Close Anne Collier Jessica Craig-Martin Michael Craig-Martin Martin Creed Gregory Crewdson John Currin Urs Fischer Liam Gillick Katy Grannan Damien Hirst Jonathan Horowitz Jasper Johns Joan Jonas Alex Katz Julian Lethbridge Malerie Marder Mary Ellen Mark Adam McEwen Josephine Meckseper Marilyn Minter Rob Pruitt Theo Rosenblum and Chelsea Seltzer

15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69

Mika Rottenberg Jackie Saccoccio David Salle Joel Shapiro Cindy Sherman Laurie Simmons Lorna Simpson Kiki Smith Billy Sullivan Rirkrit Tiravanija Peter Tunney Jack Tworkov Charline von Heyl Kara Walker William Wegman Aaron Young Zhang Huan

71 73 75 77 79 81 83 85 87 89 91 93 95 97 99 101 102

Biography: Chuck Close 106 Biography: Jessica Craig-Martin 107 Biography: David Rimanelli 109 Sales Inquiries About APJ About Bovet About Vhernier About Pace Acknowledgements and Credits

111 112 114 115 117 119

Rita Ackermann Ice Station Zebra Oil, acrylic, modeling paste, sand, spray paint and enamel on canvas 86” x 68 1/8” x 3 1/8” 2011 “[Ackermann’s work is] a machine that ruthlessly disorganizes its own forms and tears itself from expectation. In this way […] painting discovers its powers. It becomes something that a subject needs to plug into, rather than the other way around. Which is another way to say that Ackermann’s paintings have gotten away from her, in the same way that one can imagine a singer finding that her voice isn’t what she hears in recordings. The voice has sped ahead of the body it is bound to. This body will have to run it down from that moment on. It’s the same for Ackermann. Her paintings feel as if they can turn themselves into intense fields of tension by dismantling incessantly whatever forms and materials are applied to them. Disjunction and incommensurability animate them. They’ve arrived at a strange threshold of production: they seem to make themselves. In fact, each is a testament to Ackermann’s tenacious catching up to them and the work’s indefatigable drive to push on, to stay ahead of the body that makes them.” - Gean Moreno, Art Papers, July / August 2012 Ice Station Zebra bears strong testimony to the above written thoughts on Ackermann’s work. Courtesy of the artist and Hauser & Wirth $100,000

ÂŠ Rita Ackermann

Huma Bhabha Untitled Ink and gouache on C-Print 12” x 18” 2014 Huma Bhabha’s use of totemic strategies has armed her for a journey through the thicket of pre-modern and modern motifs that characterize her project. Humor and criticality vie for prominence in the artist’s use of found and recycled materials, and her references to primitivist strategies. Evoking the still powerful cadences of trickster figures, anthropomorphic forms, and weathered altars, Bhabha represents the cryptic and comical aspects of the anthropological backdrop of her anthropological materials. Bhabha’s work Untitled, with its grotesque caricature drawing overlaid on the textures of forest shrubs and stone walls, possesses traces of the layered histories that have allowed her to build a career reviving this complex field of inquiry. Courtesy of the artist $8,000 | SOLD

ÂŠ Huma Bhabha

Sanford Biggers Study #3 Textiles, fabric and kimono, double sided adhesive, treated acrylic paint, glitter and tar on archival paper 24” x 26” 2014 Sanford Biggers’ Study #3, with its collage of kimonos, acrylic paint, tar and glitter is exemplary of an additive creative process that connects apparently distinct spiritual and cultural forms as a way of “broadening the read on American culture.” Biggers has gained a reputation as a vibrant artist and performer in recent bodies of work drawn from African Spiritualism, Buddhist ritual, hip-hop and contemporary street culture. Japanese kimonos and slave quilts have been featured in his work and reflect his original take on shared histories and cultures. This combined with the artist’s involvement with music, particularly his Afrofuturist concept band Moon Medicin, has enabled him to engage viewers directly with his syncretic process. Courtesy of the artist $8,000

ÂŠ Sanford Biggers

Cecily Brown I Forgot to Remember to Forget Oil on linen 31” x 43” 2014 Cecily Brown’s works are at once resonant with the lush expanse of sensual human engagement, and emblematic of the possibilities remaining in gestural quasi abstraction. There is nothing academic in her project, which has been inspired by painters from Veronese and Rubens to de Kooning. Rather, Brown is directly connected to the moment and the canvas, with each new series of paintings generating a profound sense of immediacy. While paintings such as I Forgot… seem at first to be purely abstract, the careful observer will not miss ghosts of figuration; the outline of a head, a woman’s thigh, an erection, that tie representation to the tactile expression carried off with such seeming effortlessness. Courtesy of the artist $350,000 | SOLD

ÂŠ Cecily Brown. Courtesy Gagosian Gallery. Photography by Robert McKeever

Tom Burr Untitled (red striped, long sleeved shirt) Men’s shirt, upholstery tacks and plywood 23 1/2” x 23 1/2” 2013 A lovely old man’s striped shirt: is this for good will or good art? Tom Burr takes the second approach, making use of his own old clothes. Stretched irregularly over a plywood base, the shirt evokes ghosts of postminimalism and anti-form, while simultaneously alluding to the absent body that once filled the garment. There is a subtle but inescapable erotic susurration behind this work – austere and tender, and almost, but not quite, forgotten. Courtesy of Bortolami Gallery, New York $15,000

ÂŠ Tom Burr

Chuck Close Self-Portrait (with Cigarette) Jacquard tapestry 103” x 78” 2014 Editions 1 of 3 (all available) Chuck Close became famous in the 1970s for his huge, pitilessly precise paintings of the human face, revealing every wrinkle, blemish, pimple, and blotch. These works were typically conflated with the then-fashionable Photorealist movement in painting, though this often obscured the conceptual basis of Close’s practice and intentions. In more recent years, Close has turned to the processes of mechanized Jacquard tapestry looms to recast and “re-create” in some instances iconic works, such as this one, Self-Portrait (with Cigarette), which reprises one of Close’s most famous paintings, the Big Self-Portrait of 1967-68, now in the Walker Art Center, Minneapolis. Courtesy of the artist and Donald Farnsworth, Magnolia Editions, Oakland, CA $100,000 each

Anne Collier Developing Tray #1 (Grey) C-Print 26 1/2” x 21 3/4” 2008 Edition 17 of 20 Anne Collier comes from a tradition of self-aware critical photography with antecedents such as John Baldessari, Sophie Calle, and Chris Williams. Photographed against flat, plain surfaces in her studio, found objects – record covers, magazine pages, appointment calendars, and postcards – reveal Collier’s interest in the mass media and popular culture of the 1960s, 1970s, and 1980s. Informed as much by West Coast Conceptual art as by commercial product photography and advertising, her deadpan pictures (which are often humorous and subtly self-reflexive) present a set of formal and psychological associations that frame recurrent tensions around power and gender. But in her practice, however, she departs from the posture of distance, injecting a more ambiguous emotional quality, as in this picture, where a woman’s eye is framed within the darkroom tray whose corner stretches downward to form what could be taken as a tear. Courtesy of the artist $9,000 | SOLD

ÂŠ Anne Collier

Jessica Craig-Martin Let’s Party Digital C-Print 20” x 30” 2010 Edition 1 of 5 In her photographic corpus Jessica Craig-Martin consistently documents – this word calls to mind the Conceptual-art photographic tradition of Bernd and Hilla Becher, dry and astringent and precise, yet the “documentation” at hand couldn’t be further in obvious appearance – a realm of high style, high life, high fashion, and “Society” such as it is today. Her images are lush and inviting yet always bristle with irony, to put it modestly. Let’s Party is carefully cropped so that the promised fun and glamour is undercut with a sense of a pre-hangover hangover: it’s a delectable mess, a riot of flash and glitter, quasi-surreal in its dislocation of parts – a skinny arm reaches forth, a gold-stiletto clad foot stomps on a plate. Pity the poor hosts, or retort, “Well isn’t this what you were after in the first place, madcap, fancy-pants, alltomorrow’s-parties fun?” Courtesy of the artist $8,000 | SOLD

ÂŠ Jessica Craig-Martin

Michael Craig-Martin Untitled (credit card) Acrylic on aluminum 48” x 48” 2014 The origins of Michael Craig-Martin’s work is in the dematerialized strategies of Conceptual art, but in the 1990s he shifted decisively to painting, albeit a painterly practice that remained decisively conceptualist in its attitude. His characteristic style, evidenced clearly in Untitled (credit card), is boldly graphic and rather violent in its palette. Typically, everyday objects appear precisely rendered yet always at a certain critical distance, unmoored from context or “scenery”. The vagaries of representation remain foremost in the artist’s mind; color becomes a means of estrangement rather than a sensuous enticement. The images are rife with an excitement that skirts hysteria, however seemingly astringent their delineation. One could say of Craig-Martin’s work that it engages the quotidian world of objects, the discrete pieces of the “world” while calling into question the significance of utter banality, as for instance in this image – tellingly painted on aluminum rather than canvas – of a credit card, so ordinary, so necessary, and so terribly inevitable. What do you owe? Courtesy of the artist $75,000

ÂŠ Michael Craig-Martin. Courtesy Gagosian Gallery. Photography by Mike Bruce

Martin Creed Work No. 1761 Acrylic on canvas 24” x 18” 2013 Martin Creed’s practice typically proffers an intervention in the world of objects and situations, sometimes quite modest yet for the sensitive viewer incisive and brilliant. Work No. 1761 – the title itself seems quite arch, though Creed uses this nondescript nomenclature for works in a wide variety of mediums consistently – looks like an elegant yet purposively bland abstraction as if intoning, “Maybe this is Arp, Tony Smith, Mary Heilmann, but no it’s ME, Martin Creed!” As such, Creed belongs very much to the tradition of sly and often sarcastic Young British Art. Art is for everyone, and yet it remains specific: this piece is nothing if not a Martin Creed, and presupposes some knowledge of his entire artistic practice. Stairway to nowhere, stairway to heaven, this painting calls to mind critic Dave Hickey’s wry admonition, “Pattern is survival.” Courtesy of Gavin Brown’s enterprise, New York $55,000

ÂŠ Martin Creed

Gregory Crewdson Untitled (02) Digital pigment print 28 1/2” x 35 1/4” (framed dimensions) 2009 Edition 1 of 6 with 2 APs Gregory Crewdson’s staged scenes of American homes and landscapes ushered in a renewed fascination for the directorial mode in photography, and turned attention to the uncanny undercurrent that had festered in suburban life post midcentury. In his Sanctuary series, the artist has depopulated his world, tracing the steps of the famous and the forgotten through the abandoned lots of Rome’s formerly glorious epicenter of movie magic, Cinecittà. The series plays brilliantly with Crewdson’s obsession with the unsettling juxtapositions of fantasy and so called “reality”. The work, Untitled (02), 2009, contrasts a village scene under construction with a distant modern landscape sprinkled with sprawling urban apartment complexes. The silvery tones of the photograph both naturalize and highlight the unexplained nature of this dual reality. Courtesy of the artist and Gagosian Gallery, New York $30,000

ÂŠ Gregory Crewdson

John Currin Little Nude Etching on handmade Kochi NB paper 11 5/8” x 10” 2011 Edition 2 of 15 with 5 APs For 25 years John Currin has been our new master, old master. Ever since he painted Bea Arthur naked in 1990, he has been delivering artworks that are dependably remarkable in their pictorial finesse and detail, and also, for some, upsetting and stunningly weird. He has been accused of all sorts of things (misogyny, homophobia, Republicanism) but in his art, he proves he is a radical; someone who is unafraid of dragging you through the mud, albeit fucking gorgeous mud. His etching, Little Nude belongs to his pornography series, but as pornography goes, this is just a beaver shot. The true pornography of this image is the tininess of the image in relation to the comparatively vast white matte. It is as if we are looking into a peephole for a painter’s painter. Currin’s got a bit of Duchamp’s Étant donnés going on. Courtesy of the artist and Gagosian Gallery, New York $6,000 | SOLD

ÂŠ John Currin. Courtesy Gagosian Gallery. Photography by Robert McKeever

Urs Fischer Untitled Paraffin wax, microcrystalline wax, encaustic pigment, aluminum, aluminum leaf, wicks 2 7/8” x 95 3/4” x 4 7/8” 2014 Edition 2 of 2 with 1 AP Urs Fischer has since the early 1990s developed his own variant of anti-art, or “neo-neo-Dada” practice. Moving effortlessly between arch and mordant thematics he consistently refuses a signature style while at the same time producing works that are echt-Urs. In this untitled work, Fischer creates a sort of postminimalist joke, in keeping with his droll practice and yet seemingly impenetrable in its meaning. The diagonal form inescapably calls to mind Dan Flavin’s historic fluorescent-light sculpture, The Diagonal of May 25, 1963 (1963). But rather than Flavin’s singular, pristine, luminescent readymade, Fischer proffers a complicated materialist riff in its seeming randomness of material. This crumbling faux-Flavin is in fact a functional candle, which burns down during its installation. Here Fischer redirects our preconceived anticipation of artificial light with the possibility of natural illumination as desuetude is conjoined with divinity: Fischer meets Georges de la Tour. Courtesy of the artist $75,000 | SOLD

ÂŠ Urs Fischer. Courtesy of the artist. Photography by Mats Nordman

Liam Gillick From Bob Newhart, Los Angeles, USA to CERN (European Organization for Nuclear Research), Meyrin, Switzerland Ink on paper 8” x 10” (framed dimensions) Liam Gillick offers an imagined letter from actor Bob Newhart to CERN, the European Organization for Nuclear Research, as his piece for the Fierce Creativity project. The letter is not to be opened, and, in conjunction with CERN’s stated intent to probe the fundamental structure of the universe, one might see this sealed letter as symbolizing core issues of transmissibility and unintelligibility in relation to profound issues of physics and nuclear research. However, since Gillick, one of the most prominent conceptual artists working today, has been described as an artist whose work is “marked by a fondness for diversions and distractions, tangents and evasions”, we might also consider why Newhart’s letter has remained unopened. And, further, will the purchaser of the work allow the letter to remain unread? Courtesy of the artist and Casey Kaplan Gallery, New York $3,000 | SOLD

ÂŠ Liam Gillick

Katy Grannan Anonymous, San Francisco Archival pigment print on cotton rag mounted to plexiglass 19” x 14 1/4” 2010 / printed 2011 Edition 3 of 10 Katy Grannan has brought the complexity of the contract between photographer and subject into focus in a series of portraits that echo the delicate bargains made between S&M partners. Grannan’s photographs are collaborative, yet the subjects ultimately remain anonymous. Caught posing and composing themselves, they confront the camera with a kind of devastating pride and dignity. In Anonymous, San Francisco, a woman in black garments, her head shaved, is frozen in the harsh sun. Drawn from a series of portraits made before glaring white walls, Grannan revives Franz Kline’s vocabulary of gesture for a documentary decade. Courtesy of the artist $7,500

ÂŠ Katy Grannan

Damien Hirst Beautiful, Whirling, Artists for Peace and Justice Painting Household gloss on vinyl mounted on canvas 25 1/5” x 15 3/5” 2008 Damien Hirst, quondam enfant terrible and historical oneman Arethusa of the Young British Art, or certainly its most tenacious icon. Here we have one of Hirst’s signature makeart-fast-and-splashy spin paintings. The carnivalesque origins of the artist’s technique are perfectly in sync with his ongoing phantasmagoria of High and Low artistic intention and reference. Like the artist’s dot paintings, his vitrines, insect friezes, etc… this is a series that proposes no end, yet never grows tired: dead and everlasting, one ideal of beauty throughout the ages. The “standard” spin painting from 2008, which is always and forever beautiful and whirling, is given the specificity of the organization to which he donates it. Beautiful, whirling, droll, accurate. Courtesy of the artist and Science Ltd. $130,000

Jonathan Horowitz Zero / Max UV ink on vinyl Diptych 12” x 7” (each) / 12” x 14” (overall) 2014 Jonathan Horowitz’s work demonstrates that contrary to what many believe (contrary to what they say), conceptual art is not a bore. Much of his work is politically motivated in its ideas, though he moves fluidly from works with a light, almost poetic touch, to those which can feel more like a slap in the face. Coca Cola, like Campbell’s soup and Brillo Boxes before it, is an echt-pop icon in art. Coke Zero promises all of the taste with none of the calories. Pepsi Max makes the same promise. What sort of politics represent negation and at the same time plenitude? Courtesy of Gavin Brown’s enterprise, New York $3,500 | SOLD

ÂŠJonathan Horowitz

Jasper Johns Untitled Intaglio 15” x 14” (hand torn) 2008 Edition 35 of 35 No one is a stranger to the recondite poetry of Jasper Johns’ imagery. It calls out for interpretation while making that job endlessly deferred, impossible and inevitable. What remains always palpable: the sensuous allure of the artist’s touch. This is all the more true of Johns’ “later” works, such as this print. One confronts such works as one does a mystery of the profoundest kind. A mystery that captures the eye, but more so, the soul. Courtesy of the artist $15,000 | SOLD

©Jasper Johns

Joan Jonas Untitled Pencil on paper 11” x 14” 2005 Joan Jonas’ career in performance and video art remains among the seminal achievements in those media since their inception, in the early 1970s. Jonas’ wonderfully animated drawings are integral parts of those works. Hers is a loose, instinctual drawing hand, one in keeping with the spirit of accident, chance, and experimentation that animates her performances and videos. This untitled drawing - an insect, a fat-bodied butterfly or perhaps a wasp? - is conceptually linked to a complex, five-channel video installation of 2011, The Shape, The Scent, The Feel of Things, which incorporates Jonas’ own memories of travels in the American Southwest as well as an essay by the foundational German art historian Aby Warburg, a very different approach to the same subject. “It’s something that I’ve dealt with a lot over the years: how stories come down to us in fragmented forms,” Jonas remarks. Courtesy of the artist $13,000 | SOLD

©Joan Jonas

Alex Katz Katherine Oil on board 16” x 12” 2011 Alex Katz is a premiere painter of quotidian subjects rendered glamorous by his immaculate and sine qua non painterly facture. This particular work, a more obviously gestural, seemingly casual effect, captures the beautiful blonde girl in a moment of unstudied grace. At the same time, her face is almost masklike, her pink lips the icon of everyone’s favorite summertime girl. Courtesy of the artist $44,000 | SOLD

Julian Lethbridge Untitled Oil and printing ink on masonite 17 3/4” x 12 7/8” (framed dimensions) 2012 Sticking to a usually monochromatic palette, very often grisaille, Julian Lethbridge builds up abstract canvases of unusual complexity and density, at once sensuous in their complex surfaces but still taciturn, reserved, possessed of an almost eerie elegance. The surfaces are built up and then scraped and incised away, endowing them with an almost cartographic appearance. There’s also a strange frozen atmospheric quality, and the whorls of paint suggest a tempest, fraught with hectic energy yet bestilled. Courtesy of the artist and Paula Cooper Gallery, New York $17,000 | SOLD

ÂŠ Julian Lethbridge. Courtesy Paula Cooper Gallery, New York. Photography by Steven Probert

Malerie Marder #34 / from the Anatomy series C print 10” x 7” 2008 – 2013 Edition 1 of 3 Malerie Marder’s Anatomy series takes its title from Robert Burton’s The Anatomy of Melancholy, written in the 17th century to combat his recurrent struggles with depression. But this series of photos, all of sex workers, shows us the anatomy of women who, in Marder’s words, “intrinsically have a different relationship to their bodies.” In image #34 a young woman leans forward from the top of a shadowy staircase; an apparition whose stiff blonde curls, pink top, and shorts have been selected to enliven the spare setting for a prospective encounter, but ultimately underscore the functional surrealism of the scene. Marder, who built an influential career using her own body and those of her friends, describes her Anatomy series as images that are, “part hallucinatory and part real,” creating a tribute to the power of artifice to reconstruct circumstance. Courtesy Leslie Tonkonow Artworks + Projects, New York $2,000

ÂŠ Malerie Marder: Courtesy Leslie Tonkonow Artworks + Projects, New York

Mary Ellen Mark Amanda and her Cousin Amy - Valdese, North Carolina 1990 Gelatin silver 20” x 24” 1990 Edition 12 of 25 Mary Ellen Mark is known for her photography of children, but her approach veers far from typical notions of child photography. “I’ve always felt that children and teenagers are not ‘children’, they’re small people. I look at them as little people and I either like them or I don’t like them. I also have an obsession with mental illness. And strange people who are outside the borders of society.” This image then could be said to be typical within Mark’s avoidance of the typical: the kiddie pool as arena for alarmingly “adult”, and not necessarily “nice” adult preoccupations. The standing girl confronts the viewer – too much jewelry for her age, definitely too much makeup, and God she’s shamelessly smoking – while her seated companion is the mute but knowing witness to the perhaps less-than-innocent goings-on. A dazzling picture that spits in the face of homilies and hypocrisy. Courtesy of the artist $13,000 | SOLD

ÂŠ Mary Ellen Mark

Adam McEwen Untitled Inkjet print on cellulose sponge 20” x 16” 2014 Adam McEwen’s conceptual elegance in showing us the unexpected transformation of comfortably familiar terrain is a double edged strategy. Light bulbs, celebrity obituaries, and shop signage, in all their vernacular obviousness, become witty, but also confrontational, perhaps even snobbish, playing on the banal yet leaving the audience a bit uncomfortable. Here we have a plain sponge with an inkjet image of… a sponge? Holes upon holes, it all decomposes, into a decay of the most deliciously and deliriously neo-Conceptual variety. Courtesy of the artist $25,000

Josephine Meckseper Untitled Inkjet print on canvas 72â&#x20AC;? x 55 1/2â&#x20AC;? 2013 Josephine Meckseper has made her reputation by bringing together the contradictions of politics, art, and commerce in contemporary life in collage and sculpture. Her recent projects have taken on the legacy of German Expressionism as a form of resistance to commonplace values, and the bold red brushstrokes of Untitled, 2013, contrast the visceral gestures of the avant-garde of the past century with the current use of digital technology in translating the work into inkjet on canvas. Courtesy of the artist and Andrea Rosen Gallery, New York $45,000

ÂŠ Josephine Meckseper

Marilyn Minter Doll Face C-Print 16” x 20” 2006 Edition 4 of 8 Minter’s Doll Face is a feminine icon of equal parts appeal and revulsion, with the scales perhaps tipping perilously towards the latter. This living or fatal doll’s profile is an incoherent jumble of wet cherry lips, tendrils of bleachedblond hair, and freckled skin. Deliciously pretty in a way and yet all so wrong: good thing you can’t see the eyes… this might be the Medusa. Courtesy of the artist $10,000

ÂŠ Marilyn Minter

Rob Pruitt Suicide Painting LV Acrylic on canvas 38” x 38” 2014 Rob Pruitt’s “Suicide Paintings” are characteristic of the artist’s practice in their dry wit. What’s “suicidal” about abstract paintings in glaringly synthetic colors that resemble perhaps an iPad screensaver? Well, maybe that’s cutting to the core of the artist’s concept: our quotidian non-suicidal auto-death in the morass of contemporary technology – so easy, so efficient, so pretty, so crazy-making. Everyone encounters this impasse dealing with make-life-easier phones, computers, tablets, television sets, even ATMs, as the slick gadgetry betrays us, the computer crashes, the cellular phone malfunctions: Siri goes postal, and so too do we. One approach to these works would be to dutifully assign them meaning within the endless “death of painting” debate – that’s suicide enough. Another might be to take the paintings at their word: what is the image of suicidal ideation? This is Pruitt’s abstract “representation” of that dire state of mind, bright and aggressive, fake-cheery and desperate. Courtesy of the artist and Gavin Brown’s enterprise, New York $45,000 | SOLD

©Rob Pruitt

Theo Rosenblum and Chelsea Seltzer Big Gulp Oil paint, resin clay, and acrylic on a found painting 25” x 18” 2012 Theo Rosenblum and Chelsea Seltzer retain an unaffected and enthusiastic spirit of Pop Art, one that trawls (as it should) the squalid yet somehow cheerful pits of contemporary culture. Like other postwar artists before them (CoBrA master Asger Jorn comes immediately to mind, as does Phillip Guston and more recent painters like Dan Colen), Rosenblum and Seltzer take a banal, “nice” found painting – a bouquet in this instance – and have their fun defiling it: a steroidal Michelin man intrudes on the pseudo-Dutch vibes of the floral, ingesting God knows what from the eponymous Big Gulp of the title; the whole is supported by sculpted skeleton arms, perhaps yet another ironic gesture towards the 17th century vanitas topos. Courtesy of the artist $4,500 | SOLD

ÂŠ Theo Rosenblum and Chelsea Seltzer

Mika Rottenberg Mr. Stretch Digital C-print 24” x 24” 2014 Edition 1 of 6 with 1 AP Mika Rottenberg is interested in extremes of human psychological and physical states, exploring these themes through sculpture, photography, film, and cunning architectural manipulations. She isn’t interested in being “pleasant”, and her work while compelling in its audacity demands an engaged, unafraid spectator. This C-print, Mr. Stretch, refers to the Guinness World Record holder for… stretchable skin, a bizarre gift born of a rare medical condition. Mr. Stretch comments: “I have just got another record. I was in the Ukraine a couple of weeks ago and won a Guinness World Record, the most amount of clothes pegs pinned to the face. I managed 161.” In this photograph, Rottenberg captures Mr. Stretch with a more modest, albeit aesthetically charming, array of clothespins that in their palette mimic the heavily impastoed painting in the background. Courtesy of the artist and Andrea Rosen Gallery, New York $15,000

ÂŠ Mika Rottenberg

Jackie Saccoccio Portrait (Electric) Oil and mica on linen 57” x 45” 2014 Given the frenzied plethora – almost an epidemic of various gestural forms of markmaking, it may come as a surprise to the uninitiated that Saccoccio in works such as Portrait takes her inspiration from the old masters of the 15th and 16th centuries. She has spoken of Holbein, Ghirlandaio, Carracci, and Correggio as inspirations and models. These old masters however have been defaced beyond recognition, and the work calls to mind more immediately French Art Informale, abstract expressionism, and that German guy nobody can get away from (Richter). Combining mica (from the Latin “crumb” and influenced by “micare” to glitter) with oil paint, to create an effect that is indelibly contemporary: harsh and seductive. Courtesy of the artist $15,000 | SOLD

David Salle Yellow Vortex Oil on linen 30” x 22” 2005 David Salle could be said to be the Picabia of the 1980s, playing fast and loose with both the nascent critical practices and bad boy figuration of the time. Some two decades later, Yellow Vortex, 2005, demonstrates that Salle hasn’t lost his cunning knack for the absurd and the obscure, as this “portrait” of a presumably blonde blue-eyed bimbo swirls into the abyss of the vagina dentate. Nice work, David. Courtesy of the artist $40,000

ÂŠ David Salle

Joel Shapiro Untitled Gouache 13 1/2” x 17 5/8” 2012 Joel Shapiro is among the great innovators of postminimalism in sculpture. Throughout numerous transformations since the 1960s, Shapiro has frequently played on ambiguities of scale, the minuscule and the monumental. Best known for his sculpture, Shapiro here presents us with a delicate abstract gouache. Is it possible to see in this work a subtle homage to Shapiro’s compeer from the halcyon era of Anti-form and Process Art, Eve Hesse? The spiraling, protozoic forms and floating transparent-translucent-opaque washes are replete in aesthetic complexity and art-historical referentiality, but the artwork itself retains a quality of silence and mystery. Courtesy of the artist and Pace Gallery, New York $22,000

ÂŠ Joel Shapiro

Cindy Sherman Untitled (Male / Female Artist) Two gelatin silver prints 10” x 8” (each) 1980 / 2012 Cindy Sherman’s earliest work remained unknown except to perhaps the very small audience that might have seen it in Buffalo in the mid-70s, at Hallwalls, the alternative art space that Sherman created with Robert Longo, Charles Clough, and Nancy Dwyer. When certain series were released again in 2000, it came as a revelation: Sherman was always playing dress up in her photographs, in series like “Bus Riders” and “Murder Mystery People,” a few crucial years in advance of the first “Untitled Film Stills” [1977]. Untitled (Male/Female Artist) represents a fascinating moment in this historical sequence, as it comes after “Untitled Film Stills” but looks back stylistically to the more roughly constructed environments of the earliest work. Here Sherman poses as dude artist and chick artist, the latter pensive as she holds a flat of slides up to an unseen light source; the former brandishing a painter’s brush with a full frontal machismo. Sherman’s dark sense of humor regarding gender politics is here, as is her play on male/female identities within art’s socio-sexual construction. Here in an unusual twist she takes on both the male and the female personae. This work is remarkable, as if Sherman in 1980 - already very much a star critically - were assessing art historical paradigms, while making sure to armor herself against their pitfalls by pre-empting them. Courtesy of the artist and Metro Pictures $10,000 | SOLD

ÂŠ Cindy Sherman and Metro Pictures

Laurie Simmons Toy Clock Gelatin silver print 5 1/4” x 8” 1976 Edition 1 of 10 Throughout her career Laurie Simmons has deployed the artifice of dolls and miniaturization in her investigation of artifice and domestic space. Themes in her work include simulation, play and captivity. Like ventriloquists’ dummies, the toys in Simmons’ work speak of other worlds, referencing both human activities and commodities in a netherworld where alienation is simultaneously preordained, satisfying, and most importantly natural. Simmons’ photograph of a tiny black alarm clock condenses these themes into the form of a helpful mechanical object, which innocently measures out time in counterpoint to the beat of our oblivious hearts. Courtesy of the artist $18,000 | SOLD

ÂŠ Laurie Simmons

Lorna Simpson The Bride Collage and ink on paper 29 1/2” x 21 5/8” 2013 Lorna Simpson – The Bride, collage, black woman facing forward bodice of a white flowery neckline – a wedding dress? Hair above her is a wild black brushstroke – ink or paint – rising from her head, brined of Frankenstein – she has moved from refusing to show the expression of the subject’s faces to images, which hide the subject in a mask in a trope of predictability and attractiveness. Courtesy of the artist and Salon 94, New York $20,000

ÂŠ Lorna Simpson

Kiki Smith Walking Pig (large) Bronze 50 1/4” x 34 7/8” x 2” 2004 Edition 2 of 3 with 1 AP Kiki Smith has ceaselessly brought together human and animal experience throughout her career, investigating the organic and mortal dimensions of existence. Her openness to cross-species identification exceeds the realm of metaphor, proffering an intimate connection to the animal kingdom that is both romantic and unsettling. Walking Pig (large), a bronze sculpture of a woman riding a pig, is emblematic of Smith’s ability to integrate the lowly and bestial into the privileged realm of aesthetics. Courtesy of the artist and Pace Gallery, New York $85,000

ÂŠ Kiki Smith

Billy Sullivan Tallulah Watercolor on paper 30” x 22” 2008 Billy Sullivan’s portraits evince a seemingly unselfconscious casualness and brio. The Tallulah here is not the great stage and movie star of yore; there’s no susurration of camp. The undulant rush of red tresses frames the face of a young woman who looks like she could be a model, but whose evident vivacity of spirit probably wouldn’t play as a hierarchic Vogue advertisement. So much the better. Courtesy of the artist $12,000

ÂŠ Billy Sullivan

Rirkrit Tiravanija Untitled 2013 (Make a Monkey out of Clay) Mirror polished stainless steel 95” x 47” 2013 Edition 1 of 2 with 1 AP Tiravanija’s artistic practice since the early 1990s has become a cornerstone of what critic Nicolas Bourriaud characterized as relational aesthetics, in which the viewer is drawn into an active engagement with the artist and his wares rather than the mode of passive contemplation. Famously, Tiravanija cooked Thai dinners in galleries. Since then he has elaborated one of the most influential variants of “neo-neo-Dada” practice, evoking both the sly plays of Johns, Rauschenberg, and Cage as well as the far more historically distant poetics of Tristan Tzara and Hugo Ball at the Cabaret Voltaire. This untitled sculpture takes the form of a mirror with the text “make a monkey out of clay”, a direction seemingly quite at odds with the cool mode of its presentation. Dry (freeze-dried) wit and formal indirection remain constants of Tiravanija’s practice: just look in this mirror and see, you monkey! Courtesy of Gavin Brown’s enterprise, New York $55,000

ÂŠ Rirkrit Tiravanija

Peter Tunney City of Dreams Acrylic paint and extensive collage of mixed media on canvas 48” x 72” 2014 Peter Tunney’s works employ acrylic on canvas with a vast array of mixed-medium materials, blurring the boundary between painting and collage. Throughout these works, which traverse multiple realms both geographic and psychic – from African savannahs to Wall Street boardrooms – Tunney emphasizes an overwhelmingly positive message, with boldly graphic texts emblazoned upon them: GRATITUDE, DON’T PANIC, THE TIME IS ALWAYS NOW, EVERYTHING IS GOING TO BE AMAZING, and here, in an homage to New York, CITY OF DREAMS. At the same time, Tunney’s plethora of collaged materials and imagery complicates the ready reception of his texts, drawing the viewer into a dense world of reference and emotional response. Courtesy of the artist $45,000

ÂŠ Peter Tunney

Jack Tworkov Q3-78 #6 Oil on canvas 54” x 54” 1978 Polish born abstract painter Jack Tworkov (1900-1982) was a founding member of the New York School and is regarded as one of its core innovators, alongside his comrades de Kooning, Gorky, Rothko, and Pollock. Gestural paintings Tworkov made in the 1950s expressed the artist’s ever-present “search for freedom,” and contributed to the formation of the abstract expressionist movement in America. This abstract piece exemplifies the artist’s post-1960s work, characterized by geometric patterns and precise lines. Courtesy of Hermine Ford, Helen Tworkov and the Estate of Jack Tworkov $72,000

ÂŠ Jack Tworkov

Charline von Heyl No Angel Acrylic on canvas 20” x 18” 2014 Charline von Heyl brings to mind a word which one probably shouldn’t use very often: maverick. Neither figurative nor abstract, von Heyl’s paintings touch something nameless and uncanny, continually breaking boundaries in her work – perhaps an intimation of her legacy of the German artists in Cologne in the 80s (Kippenberger, Oehlen, Trockel). She achieves that serendipitous marvel signature, non-signature look. The decisive use of markmaking in No Angel leaves no doubt as to von Heyl’s definite yet slippery intentions. The viewer may read into the piece. Perhaps it’s a morbid black tulip at the painting’s center, floating on a painterly version of Hans Arp’s aleatory collages, or a 50s decorative textile. As Madonna noted, “Life is a mystery, everyone must stand alone.” Courtesy of the artist and Petzel, New York $30,000 | SOLD

ÂŠ Charline von Heyl

Kara Walker Dissertation 2 Unique ink transfer on paper 72 1/4” x 88 3/4” 2010 Kara Walker mines the grotesqueries of African American representation and history; that much we know already. The title of this text piece reads: “As true as whistling at a white chick ought to have been as true as a miscegenation midnight swamp fuck”, which pretty much says it all. But to whom is this dual narrative addressed? Calling up both desire and disgust, freedom and stealth, the internecine indeterminacies of this text invite viewers to engage with the parsing of truths. Courtesy of Sikkema Jenkins & Co. by consignment from the artist $85,000 | SOLD

ÂŠ Kara Walker

William Wegman Cubic Chip Pigment print 22” x 17” 2001 Edition 9 of 15 William Wegman’s photogenic Weimaraners have become an integral part of modern art history. In a nod to a changing landscape, the artist has named this recent incarnation of Man Ray’s legacy “Chip”. In shifting the reference of his dogs’ names from a surrealist photographer to computer lingocum-50s Americana, Wegman continues his long investment in serious humor. Cubic Chip brings this genealogical exploration to an extended pun on the no-longer-trusted realism of photography, minimalism, and the structural support. Courtesy of the artist $6,000 | SOLD

ÂŠ William Wegman

Aaron Young When we do right, nobody remembers. When we do wrong, nobody forgets. Blowtorch and acrylic on canvas Diptych 16” x 20” (each) / 33 1/2” x 20 1/4” (overall) 2014 In his work, Aaron Young is no stranger to the real possibility of violence in art – riffing on legacies of process art, land art, and performance (Chris Burden, Dennis Oppenheim, Michael Heizer, et al.) In this diptych referencing both Abstract Expressionism and Yves Klein’s fire paintings, Young makes works that straddle the line between the aesthetic resolution of the final object and the knowledge of the treacherous means of their creation. Courtesy of the artist $13,000

ÂŠ Aaron Young

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Zhang Huan Spiritual Leader No. 9 Cowskin 102 1/2” x 78 3/4” x 15 3/4” 2010 In his description of the piece Spiritual Leader No. 9, Zhang Huan says, “This is the spiritual leader that I most adored in my boyhood. I feel honored that I can show my respect to this great spiritual leader through my own artwork.” The sincerity of this statement, combined with the rawness of the piece itself – the image of a giant face on a ragged cowhide – forces us to consider issues of youthful idealism, and reverence for the values of tradition in the flux of modernity. This work embodies Zhang Huan’s existential and critical engagement with China’s developing history, filtered through private experience and collective memory. Courtesy of the artist $150,000

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Biography: Chuck Close Chuck Close is a visual artist noted for his highly inventive techniques used to paint the human face, and is best known for his large-scale, photo-based portrait paintings. He is also an accomplished print maker and photographer whose work has been the subject of more than 200 solo exhibitions in more than 20 countries, including major retrospective exhibitions at New York’s Museum of Modern Art, The Metropolitan Museum of Art, the Museo Nacional Centro de Arte Reina Sofia in Madrid and most recently at the State Hermitage Museum in St. Petersburg, Russia. He has also participated in nearly 800 group exhibitions. An award winning artist, Mr. Close was presented with the prestigious National Medal of Arts by President Clinton in 2000. In 1988 Mr. Close was paralyzed following a rare spinal artery collapse, he continues to paint using a brush-holding device strapped to his wrist and forearm. Mr. Close studied at the University of Washington School of Art (B.A., 1962) and at the Yale University School of Art and Architecture (B.F.A., 1963; M.F.A., 1964), receiving honorary degrees from

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both of his alma maters as well as 20 other institutions. Close is a member of the American Academy of Arts and Letters, has served on the board of many arts organizations and was appointed by President Obama to serve on The President’s Committee on the Arts and the Humanities. National Medal of Arts by President Clinton in 2000. In 1988 Mr. Close was paralyzed following a rare spinal artery collapse, he continues to paint using a brush holding device strapped to his wrist and forearm. Mr. Close studied at the University of Washington School of Art (B.A., 1962) and at the Yale University School of Art and Architecture (B.F.A., 1963; M.F.A., 1964), receiving honorary degrees from both of his alma maters as well as 20 other institutions. Close is a member of the American Academy of Arts and Letters, has served on the board of many arts organizations and was appointed by President Obama to serve on The President’s Committee on the Arts and the Humanities.

Biography: Jessica Craig-Martin Jessica Craig-Martin was born in Hanover, New Hampshire in 1963. She attended New York University, The New School, Parsons and ICP where she studied Art History, Philosophy, Anthropology and Photography. She has been a professor of photography at the School of Visual Arts for 10 years. Her work is in the permanent collections of The Guggenheim Museum, New York, The Whitney Museum of American Art, New York, The New Museum, New York, and the Museo Nacional Centro de Arte Reina Sofia, Madrid. Her work has been exhibited at PS1 MoMA, New York, The New Museum, New York, Interim Art, London, ICP, New York, Marianne Boesky Gallery, New York, Bortolami Gallery, New York, Fiction, Inc, Tokyo, Dorothy de Pauw Gallery, Brussels, Deitch Projects, New York,

Galerie Catherine Hug, Paris, Galerie Andres Thalmann, Zurich, Rivington Arms, New York, Palm Beach Institute, Florida, The Saatchi Collection, London, White Columns, New York, The Parrish Museum, New York, Haas and Fuchs Galerie, Berlin, and Galerie Lisa Ruyter, Vienna among other venues. Her editorial photography has been featured in publications including Vogue, Vanity Fair, W Magazine, The New Yorker, Self Service, The New York Times Magazine, Purple, NOWNESS, Italian Vogue, and Bald Ego. She is currently writing a book about her experiences growing up in the art worlds of New York and London. She has been actively involved with Artists for Peace and Justice since 2013.

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Biography: David Rimanelli David Rimanelli is a Contributing Editor of Artforum, for which he has written since 1988. He has curated numerous exhibitions both in New York and abroad, and taught at Yale, NYU, Otis College of Art and Design, and Art Center Pasadena.

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Sales Inquiries Contact: Matthew Cherchio (646) 398-7804 matt@apjnow.org

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About Artists for Peace and Justice Founded by filmmaker Paul Haggis, Artists for Peace and Justice (APJ) is a non-profit organization that encourages peace and social justice and addresses issues of poverty around the world. APJ’s immediate goal is to serve the poorest communities in Haiti with programs in education, healthcare, and dignity through the arts. Committed to long-term, sustainable development in direct partnership with the Haitian people, the APJ model is simple: we believe in empowering local communities, fostering economic growth, and the power of education to change a nation. APJ and its local Haitian partners are making a substantial commitment

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toward growing the next generation of Haiti’s leaders by providing high-quality secondary and higher education. The Academy for Peace and Justice is Haiti’s largest free high school serving thousands of the most deserving youth in the city of Port-au-Prince. Artists Institute is a free professional college for art and technology in Jacmel. The Institute creates modern opportunities for Haiti’s underprivileged youth to foster entrepreneurship and business development in local creative industries. www.apjnow.org

About Bovet 1822 Founded in 1822, the House of BOVET has for almost two centuries occupied a mastery position in the world of fine watchmaking. Today, BOVET perpetuates the tradition of decorative arts in its dials and movements that made its timepieces among the most treasured luxury objects of the 19th century. Workmanship in enamels, motherof-pearl, miniatures and engraving continues to set BOVET timepieces apart as distinctive works of art. Since Pascal Raffy’s acquisition of BOVET in 2001, the House’s charitable endeavors have been exclusively devoted to children and education. Like every significant chapter in the history of BOVET, it was the meeting of like minded men – Pascal Raffy and Paul Haggis – that gave rise to the partnership between BOVET and Artists for Peace and Justice (APJ).

Drawn to the emotion and sincerity behind APJ’s commitment to Haiti, Pascal Raffy pledged five million dollars over five years to assist APJ in building a brighter future for the children of Haiti. The BOVET commitment enables APJ to educate 2,800 students annually, while maintaining a 100% policy, which ensures all public donations go directly to funding programs on the ground in Haiti. BOVET is proud to present Fierce Creativity and salutes every artist who has so generously shared their talent and passion to assist Haiti’s deserving youth. www.bovet.com

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About Vhernier Vhernier, established in 1984 in Valenza, represents the finest in Italian jewelry. The creative collection is influenced in its form by trends in contemporary art. As with minimalist designs, underlying the handcrafted pieces is an inventive exploration of proportion and line, surface and structure. The soul of the brand is in Vhernier’s superiorly trained Italian craftsmen with an in-depth knowledge of materials, stones, cuts and traditional manufacturing techniques. Headquartered in Milan, Vhernier is present with its own boutiques in luxury destinations around the world including Beverly Hills and Miami and with in-store shops at select Saks Fifth Avenue stores.

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With a long-standing tradition in promoting medical and scientific research, Vhernier also supports Artists for Peace and Justice (APJ) through its Vhernier for Kids – Haiti Campaign. Each ring sold provides one child with an entire year of quality high school education. In 2013 Vhernier proudly funded APJ’s first-ever Fierce Creativity exhibition and is overjoyed to participate in this year’s edition with the extraordinary group of artists that Chuck Close and Jessica Craig-Martin have gathered. www.vhernier.it

About Pace Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the 20th and 21st centuries. Founded by Arne Glimcher in Boston in 1960 and led by Marc Glimcher, Pace has been a constant, vital force in the art world and has introduced many renowned artistsâ&#x20AC;&#x2122; work to the public for the first time. Over the past five decades, the gallery has mounted more than 700 exhibitions, including scholarly shows

that have subsequently traveled to museums, and has published nearly 400 exhibition catalogues. Today, Pace has ten locations worldwide: four galleries in New York, two in London, a 25,000 square-foot gallery in Beijing, and recently opened exhibition spaces in Hong Kong, Menlo Park, California and Chesa BĂźsin in Zuoz, Switzerland. www.pacegallery.com

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Acknowledgements Credits Artists for Peace and Justice wishes to acknowledge: Chuck Close and Jessica Craig-Martin whose extraordinary vision, leadership and tireless efforts have brought this project to life. All the incredible artists. We stand in awe of your talent and generosity.

All interior images have been provided courtesy of the galleries and studios involved in this exhibition. Designed by Sonal Gadre-Shintre Printed by

Produced by

All of the staff at the various studios and galleries who have dedicated their time to helping us bring this collection together. Pace and its staff, and especially AimĂŠe Drummey, Emilie Sahara, and James Sadek for being so accommodating and such an amazing partner in this process. Beth Zopf and Sara Moskowitz for their invaluable assistance since the very beginning. James and Maya Frey whose vision originally brought Fierce Creativity to life. Pascal Raffy of Bovet 1822 and Carlo Traglio of Vhernier for each of their extraordinary commitments to Haiti. Their partnerships made this exhibition possible. Our marvelous committee who have provided incalculable guidance, support and insight throughout this entire process. Laumont Studio and Willie Vera for their generous help with framing. And a very special thanks to Minagawa Art Lines for their extraordinary support. 117

is proud to support

Chuck Close, Jessica Craig-Martin and all of the renowned artists participating in

Fierce Creativity 2014

We commend

Artists for Peace and Justice for its important work creating opportunities for children and communities in Haiti

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