Contemporary Art Preview at Friends | Auction 2013 by Friends Seminary

AUCTION 2013 CIRCLE OF FRIENDS

N 201

FRI

END

CONTEMPORARY ART

at Friends

450 Park Avenue, 2nd Floor New York City February 21, 2013 5-8:30pm

Contents

AUCTION 2013 CIRCLE OF FRIENDS

Why live with art?

37 Mary Heilmann

77 Manu Parekh

Nina Chanel Abney

39 Janah Hilwé

79 Erik Parker

Charles Atlas & Mika Tajima

41 Damien Hirst

81 Richard Phillips

Uta Barth

43 Rashid Johnson

83 Ed Ruscha

Michael Bevilacqua

45 Tim Kent

85 David Salle

47 Nick Lamia

87 Justin Samson

49 Kevin Landers

89 Tom Sanford

51 Sean Landers

91 Tomás Saraceno

53 Louise Lawler

93 David Shrigley

55 Roy Lichtenstein

95 E.E. Smith

57 Jason Loebs

97 Kiki Smith

59 Nate Lowman

99 Sarah Sze

61 Daniel Joseph Martinez

101 Dorothea Tanning

63 Peter Max

103 Wayne Thiebaud

65 Philip Maysles

105 Andra Ursuta

67 Mariko Mori

107 Valley of Mist 2 a portfolio featuring the works of John Currin, Rachel Feinstein, Liam Gillick, Jacqueline Humphries, Sean Landers, Sarah Morris, Tony Oursler, Richard Phillips

11 Mel Bochner 13 Jonas Burgert t h a n k

y o u

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Auction 2013 Art Committee Michelle Reyes Landers Co-Chair, Tanya Traykovski Co-Chair, Tanya Bonakdar, Sean Avery Cavanaugh ’87, Andrea Crane ’86, James DeMare, Belinda Donnelly, James Frey, Catherine Gund, Ben Hunter, LaVon Kellner, Harper Montgomery, Barry Schwabsky Auction 2013 Co-Chairs Sunjit Chawla, Jennifer Rubenstein

Special thanks to Art Intern Sophie Ong.

15 James Busby 17 Sean Avery Cavenaugh ’87 19 Marc Chagall 21 Sandra Cinto 23 Jim Dine 25 Olafur Eliasson 27 Joshua Field 29 Mark Flood 31 Linda Gottesfeld 33 Julio Grinblatt 35 Julie Heffernan

69 Stan Narten 71

Alice Neel

73 Ernesto Neto 75 Louise Nevelson

panelists

John Currin Parent of Francis Currin ’22 & Hollis Currin ’23

Why live with art? A panel discussion about why and how we choose to live with art

Michael Findlay Parent of Beatrice Findlay ’18

Agnes Gund

moderator

Barry Schwabsky Parent of Willa Schwabsky ’16

Barry Schwabsky is the art critic for The Nation and co-editor of international reviews for Artforum. He has held several teaching positions, including at the School of Visual Arts, Goldsmiths College (University of London), New York University and Yale University; he is currently teaching at the School of the Art Institute of Chicago. He has contributed to books and catalogues on such artists as Henri Matisse, Alighiero Boetti, Betty Woodman, Jessica Stockholder and Gillian Wearing. Schwabsky has also published several books, most recently, Vitamin P2: New Perspectives in Painting (Phaidon Press, 2011).

Grandparent of Kofi Hope-Gund ’17, Rio Hope-Gund ’17 & Tenzin Gund-Morrow ’22

Lindsay Pollock

Artist John Currin is represented in major institutional collections including The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Tate Collection, London and Centre Georges Pompidou, Paris. He has been the subject of two monographs (2006 and 2011) co-published by Rizzoli and Gagosian. Currin lives and works in New York City.

An internationally renowned art dealer and author, Michael Findlay is a director of Acquavella Galleries in New York, a gallery known for exhibiting 19th and 20th-century masters, including James Rosenquist, Pablo Picasso, Lucian Freud and Georges Braque. As a pioneer of the SoHo gallery scene, Findlay was one of the first to exhibit the works of John Baldessari, Hannah Wilke and Sean Scully. In 1984, he was named Head of Impressionist and Modern Paintings at Christie’s, and later served as the International Director of Fine Arts. Findlay recently published his first book, The Value of Art (Prestel, 2012). Agnes Gund is President Emerita of The Museum of Modern Art and Chairman of its International Council. Ms. Gund joined the MoMA Board in 1976 and served as its President from 1991 until 2002. She is currently Chairman of the Mayor’s Cultural Affairs Advisory Commission of New York City. Gund is Founder and a Trustee of Studio in a School Association, a non-profit organization she established in 1977 in response to budget cuts that virtually eliminated arts classes from New York City public schools. She is also a philanthropist and collector of modern and contemporary art, and has served on the boards of numerous other arts organizations. (The Huffington Post) Lindsay Pollock serves as editor-in-chief of Art in America. A seasoned journalist of the art market and contemporary art, Pollock first became known for her art blogging. In her The Girl with the Gallery (2007), Pollock brought back to life the story of Edith Halpert, a pioneering art dealer who opened the Downtown Gallery in Greenwich Village in 1926 and championed American artists of her time. Pollock has served as a contributor to Bloomberg News, The Art Newspaper, ARTnews, Art & Auction and The New York Sun. She is a graduate of Barnard College and the Columbia University Graduate School of Journalism. She lives and works in New York City.

Nina Chanel Abney

Nina Chanel Abney is known for fusing the seriousness of portraiture with complexities of narrative painting. Abney places figures based on real people into imaginative worlds to create large genre paintings that deal with controversial issues of race and gender. She is interested in revealing the prejudice that is hidden in the everyday and blurs the lines of race and sexuality that are inherent in everyone. Her artistic practice also draws on art history, current events and politics, mimicking the rapid dissemination of ideas and images associated with social media. Abney rejects narrative in order to highlight the cacophony of the contemporary world. This Untitled drawing combines figurative and abstract motifs. It is an unconventional portrait; a large sideways X lies on the subject’s forehead and a semi-abstracted hand and triangular shape appear near the chin. These elements combine to illustrate the endless multitasking that is an integral part of the way we all live today. Nina Chanel Abney (b. 1982 Chicago, Illinois) received her MFA from Parsons School of Design in 2007. Abney’s work is currently on view at the Brooklyn Museum, New York and she was recently included on the Forbes Magazine list of the top most creative people in art and design under 30 years of age. She has a permanent wall mural installed at the Corcoran Gallery of Art in Washington, D.C. A selection of her works can be seen in the travelling exhibition “30 Americans,” originating at the Rubell Family Collection. She was also included in the 2009 “Younger than Jesus” exhibition at the New Museum, New York. Solo exhibitions include Kravets/Wehby Gallery in 2008, 2009 and 2013 and Fred Gallery in London in 2010. The artist lives and works in New York City. www.kravetswehbygallery.com www.ninachanel.com

Untitled 2012 Gouache and marker on paper 13¾ x 105/8 inches (34.9 x 27 cm) Signed and dated verso: Nina Chanel Abney 2013 Courtesy of Nina Chanel Abney and Kravets/Wehby Gallery

Estimated Value: $1,500 Minimum Bid: $800

Charles Atlas & Mika Tajima

Charles Atlas is a film and video pioneer. For more than 40 years he has expanded the limits of his medium, utilizing an extensive range of genres, stylistic approaches and techniques. Throughout his career, Atlas has been involved in fostering collaborative relationships. Mika Tajima’s artworks include a range of disciplines including performance, film, sculpture, design and architecture. Minimal music figures prominently in her practice as she was a founding member of the music-based performance group New Humans. In 2011, Tajima and Atlas collaborated on “The Pedestrians,” an installation in South London Gallery that hosted a number of events. Structured around the theme of walking, this exhibition operated as a functioning film set and a rehearsal space for events by a range of performers that was open to the public during normal gallery hours. The second in a series of collaborations, “The Pedestrians” enabled viewers to participate actively in the piece, reinforcing the possibilities of multi-authorship. This performance examined the act of walking in its many social and political forms, from marches to processions to dances to demonstrations. The print The Pedestrians, with its three walking figures set against a ground of geometric shapes, illustrates the changing landscape of modernity evoked in the installation. Charles Atlas (b. 1948 St Louis, Missouri) has lived and worked in New York City since the early 1970s. His work has been exhibited in institutions including the Tate Modern, London; The Museum of Modern Art, New York; and the Centre Georges Pompidou, Paris. Recent solo exhibitions include the New Museum, New York; the De Hallen, Haarlem; and Bloomberg SPACE, London. He has worked intimately with artists and performers such as Leigh Bowery, Michael Clark, Douglas Dunn, Marina Abramovic, Yvonne Rainer and most notably Merce Cunningham, with whom he worked from the early 1970s through 1983.

Mika Tajima (b. 1975 Los Angeles, California) received her MFA from Columbia University in 2003. Her work has been exhibited internationally including South London Gallery (2011); New Galerie, Paris (2011); Elizabeth Dee Gallery, New York (2011); Bass Museum, Miami (2010); Sculpture Center, Long Island City (2010); San Francisco Museum of Modern Art (2009); Whitney Museum of American Art, New York (2008); The Kitchen, New York (2008) and many more. The artist lives and works in Brooklyn.

The Pedestrians 2011 Screen print on paper 23¼ x 19¼ inches (59 x 49 cm) Edition of 75 with 10 Artist’s Proofs Edition 10 of 75 Published by South London Gallery, United Kingdom Signed and numbered recto: Charles Atlas Mika Tajima 10/75

www.luhringaugustine.com www.mikatajima.com

Courtesy of Charles Atlas Estimate Value: $750 Minimum Bid: $175

Uta Barth

For two decades, Uta Barth has made visual perception the subject of her work. Renowned for her “empty” photographic images that border on painterly abstraction, the artist carefully renders blurred backgrounds, cropped frames and the natural qualities of light to capture incidental and fleeting moments—those that exist almost exclusively within our periphery. With deliberate disregard for both the conventional photographic subject and the point-and-shoot role of the camera, Barth’s work delicately deconstructs conventions of visual representation by calling our attention to the limits of the human eye. This particular work is from Barth’s latest series, “... and to draw a bright white line with light,” which debuted in a solo exhibition at the Art Institute of Chicago in 2011. As with much of her work, she finds domestic settings to be fertile ground for nuanced explorations of changes in atmosphere, but here for the first time, the artist intervenes in the scene she previously had only observed. In this new series, Barth transforms a simple observation—the dance of a ribbon of light across curtains—into a complex photographic experience describing perception and the passage of time. The work of Uta Barth (b. 1958 Berlin, Germany) has been exhibited widely and is well represented in museum collections, including the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; The Solomon R. Guggenheim Collection, New York; The Tate Modern, London; Museum of Contemporary Art, Los Angeles; The Museum of Contemporary Art, Chicago; The Los Angeles County Museum of Art; The Getty Museum, Los Angeles; The Walker Art Center, Minneapolis, and many others. A major monograph, The Long Now, was released in conjunction with her solo exhibition at the Art Institute of Chicago in 2011. Barth is a 2012 Recipient of the prestigious MacArthur “genius award.” She lives and works in Los Angeles, CA. www.tanyabonakdargallery.com

Untitled (2012.A) from “... and to draw a bright white line with light.” 2012 Inkjet print on archival heavyweight matte paper 20¼ x 30¼ inches (51.4 x 76.8 cm) Edition of 30 with 2 Artist’s Proofs Edition 30 of 30 Signed Courtesy of Uta Barth and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $10,000 Minimum Bid: $3,000

Michael Bevilacqua

Michael Bevilacqua’s paintings present a fusion of high and low art—a post-pop genre focused on mass culture with twists of graphic stylization. He frequently combines different media and overlapping images in order to create a layered work that explores the many techniques and materials of painting, including spray paint, acrylic and collage to create an explosion of pop culture references, especially to music. He connects life experiences with his favorite things and strongest influences in highly personalized work that may at first glance appear to deal only with external, commercial concepts. Using a combination of figuration, abstraction and text, along with his emphasis on layers and surface, Bevilacqua’s paintings reflect the artist’s thoughts about himself, his art, his family and the struggle to balance all these factors within his life. Bevilacqua’s recent paintings present a striking departure from his well-known, colorful mixed media works. While the title of Somewhere Between Violet and Green may allude to one of his more colorful paintings, the work features a monochrome black and white background with blue and white lettering layered on top. Although the color palette has changed, his recent paintings still include references to the music Bevilacqua listens to in the studio, as well as meaningful dates and events. In 2012, Kravets/Wehby Gallery held an exhibition, “Ceremony,” showing Bevilacqua’s most recent series of spray paint chrome black and white paintings. Michal Bevilacqua (b. 1966 Carmel, California) attended Long Beach State University and Santa Barbara City College, before continuing his education at Cambridge College of Art and Technology in the United Kingdom. He has been exhibited widely nationally and internationally, including solo shows at Gering & Lopez Gallery, New York; Kravets/Wehby Gallery, New York; Peter Amby Gallery, Copenhagen; The Flat – Massimo Carasi, Milan; Galeria Javier López, Madrid; Galeria SENDA, Barcelona; Galleri Faurschou, Beijing; Deitch Projects, New York; Chelsea Art Museum, New York; and Jessica Fredericks Gallery, New York. His work is in several public collections, such as the Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Dallas Museum of Art; Astrup Fearnley Museum, Oslo; and the Mitsuni Collection, Tokyo. Bevilacqua lives and works in New York City. www.kravetswehbygallery.com

Somewhere Between Violet and Green 2013 Acrylic and spray paint on linen 30 x 24 inches (76.2 x 61 cm) Signed, dated and titled verso: Bevilacqua 2013 Somewhere Between Violet and Green Courtesy of Michael Bevilacqua and Kravets/Wehby Gallery

Estimated Value: $6,000 Minimum Bid: $2,000

mel bochner

Mel Bochner was one of the first artists to integrate language into the visual field in the 1960s. As one of the pioneers of this form of conceptual art, Bochner has developed a practice that encourages the to viewer think about the difference between looking at a painting and reading it. In 2009, Rhona Hoffman Gallery presented an exhibition of new work by Mel Bochner entitled “Blah, Blah, Blah.” Since this time, he has been preoccupied with the way in which color modifies the basic purpose of a text to convey meaning. In Blah, Blah, Blah, language essentially becomes a vehicle through which Bochner questions how objects that utilize text can function as works of art. The essentially meaningless phrase Blah, Blah, Blah, subjected to Bochner’s rich palette and the materiality of the unique Two Palms printing process, opens up to endless interpretations. Mel Bochner (b. 1940 Pittsburgh, Pennsylvania) studied at Carnegie Institute of Technology, Pittsburgh, where he received his BFA in 1962. Since 1964 he has lived and worked in New York City. In 2005 he received an honorary doctor of fine arts degree from Carnegie Mellon University. Bochner’s work has been widely exhibited in the United States and abroad, including solo exhibitions at The Drawing Center, New York; Carnegie Museum of Art, Pittsburgh; Harvard University Art Museums, Cambridge; Museum of Modern and Contemporary Art, Geneva; and Centro de Arte Helio Oiticica, Rio de Janeiro. His work is in the permanent collection of the Tate Collection, London; The Museum of Modern Art, New York; The Art Institute of Chicago; the Carnegie Museum of Art, Pittsburgh; and the Whitney Museum of American Art, New York. Bochner has been the recipient of numerous honors, including a Guggenheim Fellowship and grants from the National Endowment for the Arts. Bochner has also taught at the School of Visual Arts in New York and was appointed to the Yale University School of Art faculty in 1979 as senior critic in painting/printmaking. www.twopalms.us www.melbochner.net

Blah, Blah, Blah 2012 Monoprint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper 11 x 9 inches (27.9 x 22.9 cm) Publisher: Two Palms Signed and dated recto: Bochner ’12 This lot is accompanied by the book Mel Bochner: Monoprints, published by Two Palms, New York, 2013. Courtesy of Two Palms

Estimated Value: $5,000 Minimum Bid: $2,500

jonas burgert

Jonas Burgert’s works depict the theater play that is human existence: mankind’s desire to find a purpose in life. His figurative works are peopled with fantastical creatures in exaggerated proportions. His cast of characters includes monkeys and zebras, skeletons and harlequins, Amazons, children and sometimes even the painter himself. References to Renaissance painting, Flemish masters like Hieronymus Bosch and 20th-century Surrealism are all apparent in Burgert’s work. In this heliogravure, a child/man stands on a chair in a much toolarge robe that evokes the diamond of a harlequin costume. The figure is bald like a baby yet has a mature face with a disturbing and penetrating gaze that stares right at the viewer. Because this figure is placed high on a chair and holds branches aggressively crossed in front of him, the work is enigmatic and menacing. Jonas Burgert (b. 1969 Berlin, Germany) graduated from the Academy of Fine Arts, Berlin, in 1996 and consecutively studied for a post-graduate title (Meisterschueler) under Professor Dieter Hacker in Berlin. Since 1998, his work has been on view in numerous group shows around the world, including “Geschichtenerzaehler” at Hamburger Kunsthalle, Hamburg in 2003, and “Triumph of Painting Part VI” at London’s Saatchi Gallery in 2006. In 2008, Cydney Peyton curated “Zweiter Tag Nichts” at MCA Denver, Promenade Space. Since 2006 Burgert’s work has been shown in solo exhibitions around the world, including: Victoria H. Myhren Gallery, University of Denver in 2008; Arndt & Partner, Berlin in 2008; Haunch of Venison, London 2009; Kunsthalle Tübingen 2010-2011; Kunsthalle Krems in 2011 and Blain|Southern Berlin in 2012. www.blaindidonna.com www.jonasburgert.de

Falle (Trap) 2012 Heliogravure 21½ x 17¾ inches (54.4 x 45 cm) Edition of 100 Edition 12 of 100 Signed, dated and numbered recto: Jonas Burgert 2012 12/100 This lot is accompanied by a portfolio containing a catalog and eight lithograph posters, published by Blain|Southern on the occasion of the exhibition “Jonas Burgert – Gift gegen Zeit” (Poison Against Time). Courtesy of Blain Di Donna Gallery

Estimated Value: $600 Minimum Bid: $175

james busby

James Busby believes that art is successful when it asks the viewer to pause and take a closer look. This is exactly what he does with his paintings, which are transformed into slick, metallic surfaces so that the viewer questions the nature of his materials. Busby’s paintings depict an abstracted urban landscape, rendered with flat planes of bright colors and monochromatic areas of heavily worked graphite. The juxtapositions of colors and textures frequently present the viewer with a re-imagined cityscape. Busby’s earlier works were primarily executed in a monochromatic palette of whites, grays and blacks while his more recent paintings feature vivid colors throughout the composition. Throughout his career, Busby has continued to investigate the transformative quality and plasticity of his materials while focusing on geometric shapes and variations in pictorial space. Flicker comes from Busby’s most recent series of work, some of which was shown in the exhibition “New Paintings” at the Kravets/ Wehby Gallery, New York. In these most recent works, he has meticulously built up layers of gesso, which have then been sanded, polished, and cut away to create different surfaces and eliminate any painterly effects. The many-layered surfaces challenge our perception of the space, as it is ambiguous as to what is on top of what. Flicker comes in an artist-made wooden storage box. James Busby (b. 1973 Rock Hill, South Carolina) is both an artist and an art educator. He received an MFA from Virginia Commonwealth University, Richmond in 2003. Since 1999, he has participated in over 30 group exhibitions at galleries and museums in New York, Paris, Pennsylvania, Virginia and South Carolina, most recently at the Stux Gallery, New York in 2012 and Hubert Neumann Galerie Jean-Luc & Takako Richard, Paris in 2010. He has had solo exhibitions at Kravets/Wehby Gallery, New York; Stux Gallery, New York; Reynolds Gallery, Richmond, VA; and the New Gallery/Thom Andriola in Houston, TX. He has taught and lectured at the University of South Carolina, Columbia; Pennsylvania State University, University Park; Benedict College, Columbia; and Virginia Commonwealth University. In November 2012, Busby was awarded the 701 Center for Contemporary Art Prize. The artist lives and works in Chapin, South Carolina. www.kravetswehbygallery.com

Flicker 2012 Gesso, graphite, linen, oil and acrylic on MDF 10½ x 7½ inches (26.7 x 19 cm) Signed, dated and titled verso: “Flicker” James Busby 2012 Courtesy of James Busby and Kravets/Wehby Gallery

Estimated Value: $2,500 Minimum Bid: $1,250

sean avery cavanaugh ’87

Through his painting, Sean Avery Cavanaugh explores the inherent beauty found in some of the most basic forms of nature—trees, leaves, rocks, mountains and branches. Cavanaugh’s background in environmental studies is clearly evident in his reverent treatment of the natural world. Using both watercolor and oil painting technique, Cavanaugh pays particular attention to color and detail when illustrating his landscapes. He renders each crevice and surface distortion of his rock formation paintings with nuance and exquisite precision. In his works, Cavanaugh often employs a zoomed-in perspective, illustrating only a few leaves, a section of a tree, or a small entanglement of vines hovering mid-composition. Muley Twist is part of Cavanaugh’s larger body of work in which he depicts the natural world silhouetted against a vibrantly colored background. Color plays an important role in Cavanaugh’s work, as he profiles the dark trees, leaves and flowers against a background rendered in bold, bright colors, including oranges, pinks and greens. Sean Avery Cavanaugh (b. 1969 New York, New York) completed a Bachelor of Arts degree in Art and Environmental Studies in 1991 from Pitzer College in Claremont, CA. He is the third in an artistic dynasty that includes the artists Milton Avery, Cavanaugh’s grandfather, and March Avery Cavanaugh, his mother; the three artists are often shown together. His artwork has been exhibited both nationally and internationally, including at Waqas Wajahat, New York; Fleisher-Ollman Gallery, Philadelphia; Katharina Rich Perlow Gallery, New York; and DUMBO Arts Center, Brooklyn. “Natural Observer,” an exhibition of his work is being shown at Walter Wickiser Gallery until February 27. His work is included in several collections, including the Philadelphia Museum of Art, the Farnsworth Museum in Maine, and has also been a part of the Art in Embassies loan program.

Muley Twist 2009 Watercolor and gouache on paper 137/8 x 103/8 inches (35.2 x 26.3 cm) Signed and dated verso: S.C. ’09 Courtesy of Sean Avery Cavanaugh ’87 Estimated Value: $500 Minimum Bid: $100

Marc Chagall

The eldest of nine children born into a poor Hasidic family in Vitebsk, Russia, Marc Chagall drew inspiration for his earliest paintings from Russian villages and folklore. While living and working in Paris from 1910 to 1914, Chagall met and interacted with Robert Delaunay and Guillaume Apollinaire and encountered cubism and fauvism. During this time, he developed his artistic style, moving away from his early naïve, “potato-colored” evocations of village life, towards the iconic brightly colored fantastical paintings that made him famous. Refusing to be a part of any early-20th-century avant-garde movement, he nonetheless shows influences of fauvism, cubism and expressionism in works rendered in bold and bright colors, depicting dream-likes states that bring together religion, fantasy and nostalgia for Jewish-Russian culture. Although Chagall is most commonly known as a painter, the artist dedicated significant effort throughout his career to producing prints. He was first commissioned to make prints in Berlin in 1922, all of which were black and white etchings, woodcuts and lithographs. For the next 15 years, Chagall worked with Ambroise Vollard, who commissioned him to produce three massive print projects to accompany texts—the Dead Souls by Gogol, La Fontaine’s Fables, and The Bible. After a trip to New York City, Chagall started working in color lithography, which he found to be the perfect graphic medium for his artistic practice. Chagall created this color lithograph, Les Fables de La Fontaine, as an invitation to the exhibition opening “Céramiques, Sculptures et Les Fables de la Fontaine” at Galerie Maeght, Paris in 1952. The art of Marc Chagall (b. 1887 Vitebsk, Russia–1985 France) has been collected and exhibited widely throughout the world. His works can be found at most major museums, such as The Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Kunsthaus, Zurich; the Kunstmuseum, Bern; the Stedelijk Museum, Amsterdam; the Tate Modern, London; and the State Hermitage Museum, St. Petersburg. Chagall’s first retrospective was in 1946 at The Museum of Modern Art, New York. He received many large-scale commissions, including windows for the Hadassah University Medical Center synagogue, Jerusalem and a ceiling for the Paris Opéra. A recent exhibition of Chagall’s works on paper, “Marc Chagall – Master of livre d’artiste: Selected Prints,” was held at the State Hermitage Museum from October to December 2012.

Les Fables de La Fontaine 1952 Color lithograph 3½ x 14½ inches (8.5 x 37 cm) Edition size unknown Signed recto: Marc Chagall Courtesy of Jennifer and Joshua Rubenstein (Isaac ’22) Estimated Value: $900 Minimum Bid: $300

Sandra Cinto

Brazilian artist Sandra Cinto feels a connection to the act of drawing, but does not limit herself to a single medium, or to twodimensional surfaces. Cinto’s drawings, paintings, sculptures and installations often illustrate the cycles of human life and the indomitable hope for transcendence inherently interwoven with even the most difficult hardships—symbolically through imagery of the sea, sky, rain, waves and clouds. This particular work, Untitled (After Encounter of Water), blends imagery of sea and sky into an intricate drawing featuring a turbulent seascape that comes to life through animated lines and a beautiful yet threatening composition. By using a minutely detailed linear composition teetering on abstraction, Cinto references both the psychological struggle inseparable from any transformational journey, as well as the peace and calm after the storm. The work of Sandra Cinto (b. 1968 Santo André, Brazil) is included in the collections of the Albright-Knox Gallery, Buffalo, NY; Institute of Contemporary Art, Boston; Museum of Contemporary Art, San Diego; Museu de Arte Moderna, São Paulo, Brazil; Museu de Arte Moderna do Rio de Janeiro, Brazil; and Instituto Inhotim, Brumadinho, Brazil, among others. Recent notable exhibitions include “Decade: Contemporary Collecting 2002-2012,” The Albright-Knox Gallery, Buffalo, NY, 2012; a solo show at the Instituto Tomi Ohtake, São Paulo, Brazil, 2010; “Pleasure Point: Celebrating 25 Years of Contemporary Collectors,” Museum of Contemporary Art, San Diego, CA (group); Cinto was commissioned to create an outdoor public work, titled “When The Night Comes Into My Room,” for the Parque Leopoldina in São Paulo, Brazil, and an outdoor public commission, titled “Japonism,” for the SESC swimming pool in Santo André, Brazil. Cinto has also recently completed major public installations at the Seattle Art Museum and the Phillips Collection in Washington, D.C. She lives and works in São Paulo, Brazil. www.tanyabonakdargallery.com

Untitled (After Encounter of Water) 2012 Ink on paper 20 x 26½ inches (50.8 x 67.3 cm) Signed Courtesy of Sandra Cinto and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $4,500 Minimum Bid: $800

jim dine

Considered a pioneer of both Happenings and Pop Art in the 1960s, Jim Dine is known for infusing familiar motifs from popular culture with autobiographical content to make bold paintings, sculptures and graphic works. Often repeating certain generic images such as hearts, skulls and tools, his interest in repetition and the everyday are typical of Pop Art. Dine is renowned for his superb draftsmanship. This woodcut employs Dine’s most recognizable motif, the heart, which has figured prominently in his work for the past several decades. As the artist noted in a 2010 interview, “I use it as a template for all my emotions. It’s a landscape for everything. It’s like Indian classical music—based on something very simple but building to a complicated structure. Within that you can do anything in the world. And that’s how I feel about my hearts.” Dine (b. 1935 Cincinnati, Ohio) moved to New York City in 1959. In 1962, along with Andy Warhol, Roy Lichtenstein and Ed Ruscha, Dine was one of eight artists included in the “New Paintings of Common Objects” exhibition at the Pasadena Art Museum which is often credited with defining the field of Pop Art. The next year, his work was included in “Six Painters and the Object” at the Solomon R. Guggenheim Museum which presented the work of six artists (Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist and Andy Warhol) who eventually became among the most prominent postwar American artists. Dine’s work has been exhibited in Documenta 4 in 1967, Documenta 5 in 1972, and Documenta 6 in 1977, the Venice Biennale in 1964 and 1997, as well as the 1973 Whitney Biennial and its precursor, the Whitney Annual, in 1965, 1966, 1967 and 1969. Dine has been the subject of hundreds of solo shows, including at the Morgan Library and Museum, New York and the J. Paul Getty Museum, Los Angeles. In 1970, the Whitney Museum of American Art, New York, organized a major retrospective of his work, and in 1978 The Museum of Modern Art, New York, presented a retrospective of his etchings. Since then, Dine has been the subject of major retrospectives at the Walker Art Center in Minneapolis (1984–85), Solomon R. Guggenheim Museum in New York (1999), and National Gallery of Art in Washington, D.C. (2004). Dine lives in New York, Paris and Walla Walla, Washington.

Untitled (Heart of BAM) 1996 Six-color woodblock print on Arches paper 18¾ x 17 ¼ inches (47.6 x 43.8 cm) Edition of 100 Edition 92 of 100 Signed, dated and numbered recto: Jim Dine 1996 92/100 Courtesy of Anonymous Estimated Value: $3,500 Minimum Bid: $600

Olafur Eliasson

Throughout his career, Olafur Eliasson has challenged the notion of the artwork as a static object; for him, the meaning and generative potential of each work lies in the exchange between the piece and the viewer. The visitor’s experience, his or her subjective perception and mediation, activates the work, which in turn prompts a new awareness in the visitor of his or her own methods of interpreting the world. His projects range from photographic series to largescale site-specific installations, which, according to Eliasson, give people the chance to reconsider their relationships to their surroundings, evoking individual experiences and enhancing a sense of collectivity. This work, Homage to P. Schatz, embodies many characteristics of Eliasson’s larger scale work. The movement and interplay of light over and through the surface of the piece seduce and draw the viewer in to watch it change. As the form and colors shift by the second, in seemingly endless combinations, they provide the viewer with multiple potentials for experience and interpretation. Impossible to capture in one particular static moment, the work becomes an ever-changing object. The work of Olafur Eliasson (b. 1967 Copenhagen, Denmark) has been widely collected and exhibited internationally since the mid 1990s. In 2008, he exhibited his first New York public art project, The New York City Waterfalls, consisting of four man-made waterfalls of monumental scale at four sites on the shores of the New York waterfront in Manhattan, Brooklyn and Governor’s Island. In 2007, the artist’s mid-career retrospective, “Take your time: Olafur Eliasson,” opened at the San Francisco Museum of Modern Art, and traveled to The Museum of Modern Art, New York, MoMA PS1, New York, The Dallas Museum of Art, The Museum of Contemporary Art, Chicago, and The Museum of Contemporary Art, Sydney through 2010. In 2003, his largely celebrated Weather Project was installed at the Tate Modern’s Turbine Hall, London. The artist grew up in Iceland and Denmark, and attended the Royal Danish Academy of Fine Arts in Copenhagen from 1989 to 1995. He currently lives and works in Berlin and Copenhagen. www.tanyabonakdargallery.com www.olafureliasson.net

Homage to P. Schatz 2012 Optical lighting film, aluminum rings, LED strips 117/8 x 117/8 x 27¾ inches (30.2 x 30.2 x 70.6 cm) Edition of 360 with 10 Artist’s Proofs Edition 320 of 360 This lot is accompanied by a Certificate of Authenticity signed by the artist. Courtesy of Olafur Eliasson and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $2,000 Minimum Bid: $600

Joshua Field

Joshua Field, an artist based in North Adams, Massachusetts, is known for poetically-driven narrative paintings. Field utilizes iconic, psychological and subversive imagery culled from both the collective consciousness and personal experience to portray sociological issues and mythic individual dramas. A fascination with a dreamlike unreality is central to Field’s work. In this painting, Scrutiny and Desire, some figures are immobilized as they partially disappear into diaphanous ether. Field’s use of narrative grammar, combined with dissonant contiguity, creates a world where drama playing out is self-contained and enigmatic. Stylistically, the combination of linear figures in the foreground and cloud-like abstract forms at right and in the center of the work adds to its dream-like quality. Joshua Field (b. 1973 the Berkshires, Massachusetts) spent his formative years in St. Petersburg, Florida where he attended the Pinellas County Center for the Arts, a competitive four-year high school for the arts. Field later attended the Maryland Institute College of Art in Baltimore where he earned his BFA. At MICA, he focused on assemblage/collage and poetry, and was mentored by Joe Cardarelli, a renowned beat poet and friend of Alan Ginsberg, Andrei Codrescu, Anselm Hollo and Robert Creeley. In the 1990s Field moved back to the Berkshires where he currently maintains a studio in North Adams, Massachusetts, home to the largest contemporary art museum on the east coast, Massachusetts Museum of Contemporary Art. He has exhibited nationally and internationally, from Chelsea in New York City to Berlin, Germany. The artist lives and works in North Adams, Massachusetts. www.joshuafield.com

Scrutiny and Desire 2010 Oil and acrylic on canvas 20 x 16 inches (40.6 x 50.8 cm) Signed verso: Joshua Field Courtesy of Joshua Field Estimated Value: $2,700 Minimum Bid: $600

Mark Flood

Since the 1970s, Mark Flood has occupied the role of an “artist’s artist,” a protected insider’s secret for those who have encountered his work or known his band Culturcide. From the vantage point of living and working in his native Houston, Texas, Flood witnessed at close range the onslaught of corporate and celebrity culture that came to define America in the 1980s, and which continues to do so today. In his work, Flood examines ideas about beauty and society through a wide variety of media. This work, Untitled (Like), extends the tradition of Flood’s word paintings. Whereas the earlier text paintings were concerned with critiquing commercial and consumer culture, this work brings social media into that realm. Flood’s “sign” is “intended to illuminate society’s preoccupation with social media as a means of externalizing the act of “liking.” Untitled (Like) simultaneously comments on the ubiquitous opportunities one has to advertise an opinion, while embodying an everlasting viewpoint. Recent solo exhibitions of work by Mark Flood (b. 1957 Houston, Texas) have taken place in New York at Zach Feuer Gallery and Luxembourg & Dayan Gallery. His work is included in the collections of Dallas Museum of Art, Menil Collection, Houston, Modern Art Museum of Fort Worth and Museum of Fine Arts, Houston. He currently lives and works in Houston. www.zachfeuer.com www.luxembourgdayan.com

Untitled (Like) 2012 Acrylic on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed and dated verso: Mark Flood 12-2012 Courtesy of Mark Flood and Zach Feuer Gallery Estimated Value: $10,000 Minimum Bid: $2,500

LINDA gottesfeld

Primarily a landscape painter in the broadest sense of the genre, Linda Gottesfeld’s first major series of works consisted of oil paintings on warped and punctured steel. Today, she uses oils on both canvas and paper, exploring the mundane beauty in a detailed landscape with loose brushwork. Each series is specifically focused on a specific place and collection of images, often taken from photographs that are digitally manipulated to produce different color variations and effects. Gottesfeld’s meditative images result in a color palette that recalls different candies, such as Necco Wafers and M&Ms. To Ridgelawn comes from Gottesfeld’s most recent series in which she explores the New Jersey suburban neighborhood from her childhood, a landscape that includes friendly neighborhoods, cemeteries, strip malls and industrial complexes. Accompanied by a friend, Gottesfeld returned to the suburb, a place she had not seen in ten years, and documented her reaction to the old, familiar town, taking a collection of photographs that reflect her new approach to the manicured suburban landscape. In the series, she seeks to understand the relationships between her memories of the suburb, her recent visit and the photographic documentation. Linda Gottesfeld received her BFA from the Rhode Island School of Design before completing an MA and MFA at the University of California, Berkeley. She has been included in a number of group exhibitions held at The Drawing Center, New York; The Morris Museum, New Jersey; South Street Seaport, New York; and The Painting Center, New York. Furthermore, she has had a number of solo shows, including most recently the show “Pearlbrook Drive” at the Ellen Miller Gallery, Boston, in 2012 that consisted of a number of paintings from Gottesfeld’s New Jersey suburbs series. She has received several awards and fellowships, including residencies at Yaddo, Saratoga Springs, NY (1995, 2010); The Ucross Foundation, Clearmont, WY (1997); and The Millay Colony, Austerlitz, NY (1997). She is represented by Ellen Miller Gallery, Boston. Linda Gottesfeld lives and works in New York as an artist and professor of art at Pace University, New York.

To Ridgelawn 2013 Oil on paper 18 x 24 inches (45.7 x 61 cm) Signed and dated verso: Linda Gottesfeld 2013 Courtesy of Linda Gottesfeld (Felix ’16) Estimated Value: $2,000 Minimum Bid: $500

www.lindagottesfeld.com www.ellenmillergallery.com

JULIO GRINBLATT

Julio Grinblatt pushes photography’s conceptual boundaries and in the process suggests that it can reveal hidden aspects of our selves, the landscape, and even our built environment. Exploiting the intrinsic formal qualities of the medium, such as flatness, seriality and cropping, Grinblatt works in series. “Photographs of Nothing” (1994-1995) are horizontal strips of lush, green foliage, “Photographs of Others” (1999) show tourists snapping shots of each other in the glare of flashes, and “People in Front of Their Birthday Cakes” (1995-2003) captures the moment when, eyes closed in the glow of candles, wishes are made. Grinblatt shows how the intermediary steps of developing film intercede in the process of image making. In “Cielito Lindo” (2005) after taking pictures of a blue sky, he asked different printers to develop the negative with the goal of printing “a beautiful sky.” The results not only show widely varying representations of a blue sky but more significantly, as Grinblatt notes, “the variation of the idea of beauty” itself. In “Pasillos (Corridors)” (1998), although architecture is the ostensible theme, the true subject of these minutely scaled images is the complete and utter absence of human presence in settings that should logically be densely populated. In pictures of hotel hallways, subway escalators and stairways, airports and elevators, small details like commercial carpeting, subway tile and fluorescent lighting provides clues to the location of these lonely, desolate scenes. With a formal beauty that exceeds the small format of this series, Grinblatt continues his ongoing project of ferreting out the sublime in the mundane everyday. Julio Grinblatt (b. 1960 Buenos Aires, Argentina) lives and works in New York where he teaches at Hunter College. He has exhibited his work in solo exhibitions at the Fondazione Teatro Lirico di Cagliari in 2010, Galería Ruth Benzacar in Buenos Aires in 2009, and the Museo de Arte Moderno de Buenos Aires in 2001, and in group shows at Art Chicago and at MoMA PS1 in New York in 2009, and at the Institute of Contemporary Art in Philadelphia in 2003, among many others. His works are in the collections of the Museum of Fine Arts in Houston, the Museo Nacional de Bellas Artes in Buenos Aires and Light Work Collection in New York.

Untitled #9815.36, Untitled #9818.05, and Untitled #9931.34 from the series “Pasillos (Corridors)” 1998, 1998 and 1999 respectively Gelatin silver prints, mounted to aluminum 10 x 18 inches each Edition of 7 with 3 Artist’s Proofs Edition AP1, Edition AP2, and Edition AP1, respectively Signed, dated and numbered verso: J.G. 1998 AP1, J.G. 1998 AP2, and J.G. 1999 AP1, respectively Courtesy of Julio Grinblatt (Nina Grinblatt '19) Estimated Value: $9,500 Minimum Bid: $2,000

www.juliogrinblatt.com www.minusspace.com

Julie Heffernan

Julie Heffernan’s paintings are unusual amalgamations of magical fantasy, Surrealism and references to the Old Masters. The paintings, most of which are self-portraits, function as allegories for another self; they reflect Heffernan’s imaginative psyche and profound political beliefs. Each painting is rendered with meticulous detail and a mastery of oil painting technique. With intricate and complex compositions, her large-format works require a keen eye to navigate around and in and out of the maze-like natural elements and bountiful settings. They are imbued with a dark sensibility reminiscent of Grimm’s fairy tales, and serve as contemporary memento mori or vanitas images, evoking over abundant fantasies which are countered by moralistic warnings. Study for Self Portrait as Sanctuary is part of Heffernan’s larger body of self-portraits, in which she depicts herself in many guises, sometimes even as a group of people, and not only as a female, but sometimes also as male. Heffernan has often remarked how an idea in one of her paintings will seamlessly evolve into another work. This painting presents two figures, illustrated in meditative blue hues, huddled within the sanctuary of a large crimson tent situated in a fantastical forest. This red tent is a riff on the red tent that appears in Heffernan’s painting Self Portrait in Red Tent (2012), which was recently featured in an exhibition “Julie Heffernan – Sky’s Falling” at Mark Moore Gallery, Culver City, CA from November to December, 2012. Julie Heffernan (b. 1956 Peoria, Illinois) received her MFA in painting from the Yale School of Art. Her work has been collected and exhibited nationally and internationally, including solo exhibitions at Catherine Clark Gallery, New York; Megumi Ogita Gallery, Tokyo; University Art Gallery, California State University, Stanislaus, CA; PPOW Gallery, New York; and Littlejohn Contemporary, New York. She has been included in group exhibitions at Center for Contemporary Art, Sacramento, California; National Academy of Art, New York; Hauser & Wirth, London; Zwirner & Wirth, New York; and the New Museum, New York. “Everything that Rises,” a retrospective of her work, with an accompanying catalog, was organized by the University Art Museum, University of Albany and traveled to Weatherspoon Art Museum, University of North Carolina in Greensboro, NC and Columbia Museum of Art, Columbia, SC. Heffernan lives and works in New York City. www.ppowgallery.com

Study for Self Portrait as Sanctuary 2013 Oil on canvas 10 x 8 inches (25.4 x 20.3 cm) Signed, titled and dated: J. Heffernan © 2013 Study for S.P as Sanctuary Courtesy of Julie Heffernan (Samuel Kalb ’14) Estimated Value: $1,500 Minimum Bid: $300

Mary Heilmann

A native of San Francisco, California, Mary Heilmann trained as a sculptor and ceramicist, earning her MA in ceramics and sculpture from the University of California, Berkeley in 1967. She moved to New York City in 1968 where she eventually switched to painting. Throughout her career, Heilmann has charged her abstract creations with an electric playfulness and stressed the importance of color in her work. Drawing inspiration from both nature and popular culture, such as music and “The Simpsons” TV cartoon, Heilmann grounds her work in the Modernist tradition by placing emphasis on line, fields of color, and geometric and organic forms. However, she departs from the Modernist mode by introducing the notion of “space” into her work, often juxtaposing “deep space” and “flat space” against each other. In the creation of prints, Heilmann predominantly uses aquatint, as the medium allows her to execute the print in a more painterly manner, rather than a drawing one. Nature plays a crucial role in Heilmann’s prints; she manipulates the plate so that gravity causes the material to run down the plate and create an image akin to falling water. Weather Report was featured in the exhibition “Mary Heilmann, Weather Report: Drawings and Prints” in 2010 at the Museum Ludwig in Cologne, Germany, which was the first exhibition devoted to Heilmann’s works on paper. This work is reproduced in the catalogue published by Museum Ludwig, which is included in this lot. Mary Heilmann (b. 1940 San Francisco, California) has worked on print projects twice at Crown Point Press (1998, 2006) and also with Pace Editions. Heilmann’s work can be found in the permanent collections of many major museums, including The Museum of Modern Art, New York, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, New York, the Museum Ludwig, Cologne, and the Moderna Museet, Stockholm. “Mary Heilmann: To Be Someone,” a major retrospective of Heilmann’s work traveled from 2007 to 2009 and was shown at the Orange County Museum of Art, the Contemporary Arts Museum, Houston, the Wexner Center for the Arts, Columbus, Ohio, and the New Museum, New York. Heilmann is represented by Hauser & Wirth and 303 Gallery, New York. She lives and works in New York City and Bridgehampton, New York. www.303gallery.com www.hauserwirth.com www.crownpoint.com

Weather Report 2006 Color spit bite and sugar lift aquatint on gampi paper chine collé 21½ x 17 inches (54.6 x 43.2 cm) Edition AP4 of 10 Published by Crown Point Press Signed, dated and numbered recto: MH06 AP4 This lot is accompanied by the book Mary Heilmann: Weather Report, published by Ludwig Museum, Cologne, Germany, 2006. Courtesy of Mary Heilmann Estimated Value: $1,500 Minimum Bid: $1,000

janah hilwÉ

Janah Hilwé began her artistic career as a painter. Following her encounter with the conceptual works and writings of Farid Sarroukh, Hilwé began to turn her attention to language. Hilwé looked into aspects of time and space in an extensive series of works involving texts and numerical combinations on paper. She combined these conceptual investigations in her Antithesis series (1968-70). Hilwé’s first solo exhibition was the mail art project Two Untitled Projects (1969), which was published in the magazine 0 to 9 (edited by Vito Acconci and Bernadette Mayer). She was the only Palestinian woman artist to participate in important exhibitions such as “Concept Art” (1969) in Leverkusen (Germany) or “Information” (1970) at The Museum of Modern Art in New York. By this time she had decided to pursue an academic study of philosophy, as she did not feel content with a lay person’s approach to philosophical doctrines. Hilwé first gained regional attention in the Arab world in the 1970s as an influential and often controversial figure in the performance and conceptual art movements of Amman, Cairo and Beirut. Once ironically termed the “witch of contemporary art,” Hilwé achieved notoriety with her sensationalist performance work, in which she investigated the psychological experience of personal danger and physical risk. Janah Hilwé (b. 1943 Birzeit, Palestine) moved to Beirut in 1949 and currently lives on Cape Cod, Massachusetts. She studied art at the Beirut College for Women and at the School of Visual Arts in New York from 1962-65, and also at City College of New York from 1967-69. After that she took up philosophy at Harvard University in Cambridge, Massachusetts. After a sojourn at the University of Heidelberg (Germany) from 1972-76, she completed her doctorate in 1978. Auction: 2013 (33) 2013 Archival inkjet print 17 x 22 inches (43.2 x 55.9 cm) Edition of 1 with 12 Artist’s Proofs Edition 1 of 1 This lot is accompanied by a Certificate of Authenticity signed by the artist. Courtesy of Janah Hilwé Estimated Value: $1,500 Minimum Bid: $500

Damien Hirst

Damien Hirst is an English sculptor, installation artist, painter and printmaker. He was a leading figure in the group of “Young British Artists.” His works are concerned with the fundamental questions of human existence; his often-repeated themes have included the fragility of life, the reluctance to confront death and the nature of love and desire. Dead animals are frequently used in Hirst’s work, forcing viewers to consider their own and society’s attitudes toward mortality. In 1990, Hirst began work on a series of paintings about observing flies getting stuck on monochrome gloss painted canvases. Inspired by this idea, but with the aim of creating something beautiful, Hirst started working with dead butterflies. For the artist, the attraction of butterflies is based on their lifelike appearance in death. The monochrome paintings are the earliest example of his use of the insects, which were to become one of his most recognizable motifs. On their repeated appearance in his work he explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.” These hyper-realistic etchings with their seductive titles are beautiful, enduring examples of a key body of work. Damien Hirst (b. 1965 Bristol, England) studied at Goldsmiths College, London (1986–9), and in 1988 curated the exhibition “Freeze” where he first introduced the iconic Spot paintings that in January 2012 were exhibited in a show of unprecedented scale across 11 Gagosian Gallery locations worldwide. He was awarded the Turner Prize in 1995. Since 1987, there have been more than 80 solo exhibitions of Hirst’s work worldwide, and it has been included in more than 250 group shows. Hirst’s first major retrospective was held in the Museo Archeologico Nazionale in Naples in 2004 and the most recent was held last year at the Tate Modern in London. He lives and works in London, Gloucestershire and Devon. www.gagosian.com www.damienhirst.com

To Belie 2008 Etching 161/8 x 175/16 inches (41 x 45.6 cm) Edition of 75 Edition 13 of 75 Signed and numbered recto: Damien Hirst 13/75 Courtesy of Anonymous Estimated Value: $2,500 Minimum Bid: $750

Rashid Johnson

Rashid Johnson was the youngest participant in the Studio Museum in Harlem’s celebrated 2001 “Freestyle” exhibition. An African-American artist, Johnson contributed to the introduction of the notion of “post-Black art.” This pivotal movement recognized the 21st century emergence of an African American artistic and cultural identity that transcends inherited racial boundaries. Johnson’s conceptually loaded paintings, sculptures and installations evoke art history, specifically abstraction and appropriation. His visually compelling works take their inspiration from personal experience and pop culture. Both form and materials are unconventional; many of Johnson’s works can be defined neither as paintings nor sculpture, but as hybrids. He defines his utilization of commonplace materials such as shea butter and soap from his childhood as a “hijacking of the domestic” to achieve his artistic objectives. In Johnson’s Cosmic Slop “Count on Me,” from his most recent body of work, a black wax/soap mixture is poured to create a single, seething ground of physicality upon which Johnson then carves abstract markings with a palette knife. The title Cosmic Slop is derived from the 1973 record by the psychedelic funk band Funkadelic, whose improvisatory musical act encompassed costumes, science fiction and political awareness. As in this album, Johnson unifies forms and materials in his work. Johnson articulates his AfricanAmerican experience, not as a way of recycling the past, but in order to isolate formal innovations that may have gone unnoticed in the development of the visual arts. Merging Abstract Expressionism and the visionary total stagecraft of Funkadelic, these new works suggest that diverse expressions of cultural development are often connected in unexpected ways. Johnson (b. 1977 Chicago, Illinois) received his MFA from the School of the Art Institute, Chicago. A mid-career survey is currently underway at the Museum of Contemporary Art, Chicago, travelling to the Miami Art Museum; the High Museum of Art, Atlanta; and the Mildred Lane Kemper Art Museum, St. Louis. Also this year, Johnson will be the subject of a solo exhibition at Ballroom Marfa in Texas. Past solo exhibitions include shows at South London Gallery; Sculpture Center, Long Island City, NY; and the Indianapolis Museum of Art. Recent group exhibitions include “In the Holocene,” MIT List Visual Arts Center, Cambridge, MA; “American Exuberance,” Rubell Family Collection, Miami; “Becoming: Photographs from the Wedge Collection,” “ILLUMInations,” International Pavilion, 54th Venice Biennale. The artist lives and works in New York City. www.davidkordanskygallery.com

Cosmic Slop “Count On Me” 2013 Black soap, wax 16½ x 14½ x 3 inches (41.9 x 36.8 x 7.6 cm) Signed verso: Rashid Johnson Courtesy of Rashid Johnson and David Kordansky Gallery. Los Angeles Estimated Value: $25,000 Minimum Bid: $5,000

Tim Kent

Born in Vancouver, Canada of an English mother and Turkish father, and educated in the US and the UK, Tim Kent grew up continuously surrounded by different cultural voices, which have contributed to his profound respect for the tradition of painting. Rooted in the grand tradition, Kent has studied the Old Masters and incorporates their techniques into his work, while also inventing his own tricks and skewing the paintings to his contemporary aesthetic. Kent is known for his luminescent and daring architectural interiors, often basing his spaces on grand homes, but using light and unusual angles to examine these stately spaces from a new perspective. Kent’s works often have a dark and haunting sensibility as he examines historic homes and the people that live inside them. In Kent’s small interior paintings, such as Lord Cecil’s Chagrin, he pushes the traditional boundaries of light, color and texture to create dramatic exaggerations of room interiors. He designs spaces that vacillate between harmoniously constructed areas and those which appear to be breaking down. In his paintings, Kent seeks to engage the viewer’s own imagination in fully understanding the depicted interiors. Tim Kent (b. 1975 Vancouver, Canada) received his BA in art history from Hunter College in New York in 2001, and his MA in Visual Culture from the University of Sussex at West Dean College in 2005. He has participated in many group exhibitions in the US and the UK, including at Centotto Galleri, Brooklyn. He has had several solo shows, most recently “The Best of Times,” held in 2010 at Moncrieff-Bray Gallery in London. Following the Old Master tradition, Kent prefers to engage in an artist-patron relationship and produces many works through private commission. His works are in the collections of several notable private individuals and institutions including The National Trust, The Edward James Foundation, The Duke of Buccleuch and Queensberry, City University of New York, Oscar De La Renta, Lacoste, Hugo Boss AG, Drumlanrig Castle and Sir Cameron MacIntosh. www.thehouseofkent.com

Lord Cecil’s Chagrin 2012 Oil on canvas 18 x 18 inches (45.7 x 45.7 cm) Signed and dated verso: T Kent 2012 Courtesy of LaVon and David Kellner (Chloe ’18) Estimated Value: $5,000 Minimum Bid: $1,500

Nick Lamia

A Californian by birth, Nick Lamia received a BA in Environmental Science at the University of California, Berkeley before studying painting at the New York Studio School and receiving his MFA in Painting from Boston University. Although an abstract painter on the surface, Lamia asserts that attention to detail and the study of reality are at the forefront of his artistic practice. His work usually engages with opposites—shallow and deep space, geometric and organic forms, and fields of opaque hues contrasted with gestural, translucent brushwork. Primarily a painter, Lamia also explores the notion of abstracted space through drawing, prints, sculpture and installation. Through his abstract paintings, Lamia seeks to examine the intimate and inseparable relationship between nature and society. He combines planes of color with linear structures, usually rendered in unusual color combinations, to create partial map-like images of imaginary spaces that serve as embodiments of the symbiosis of the natural and mechanical worlds. Many of his works, such as this one, are left untitled so that line, color, form and perspective dictate the experience and impression of the work. Nick Lamia (b. 1971 Los Angeles, California) has received several awards for his art, including a Guggenheim Fellowship in 2003, and in 2009, he received both a Robert Blackburn Printmaking Workshop Fellowship and a MacDowell Colony Residency. In 2010, he was a participant in the Bronx Museum’s Artist in the Marketplace program and 500 of his small-scale drawings were included in the exhibition “Bronx Calling: The First AIM Biennial” at the Bronx Museum. In 2012, he participated in the winter Workshop Residency at Wave Hill, New York. Lamia has been included in several exhibitions, such as at Jason McCoy Gallery, New York; ArtSpace, New Haven, CT; Jen Bekman Gallery, New York; Maine Center for Contemporary Art, Rockport, ME; and Corcoran Gallery of Art, Washington, D.C. Nick Lamia lives and works in New York City. www.nicklamia.com www.jasonmccoyinc.com

Untitled 2010 Oil on canvas 12 x 12 inches (30.5 x 30.5 cm) Signed, titled and dated verso: Nick Lamia Untitled 2010 Courtesy of Nick Lamia and Jason McCoy Gallery Estimated Value: $3,000 Minimum Bid: $2,000

Kevin Landers

Kevin Landers captures the spontaneous banality of the urban New York City street—its people and ever-changing surroundings. In the tradition of street photography, Landers has been scouring the Lower East Side since 1990 in his search for beauty and humor in the humblest spots. His work forces us to reconsider oftenoverlooked scenarios, objects and people. His photographs are as much about what is in the frame, as what is alluded to outside of the frame; a curbside trophy collection, a squeegee, a dirtied coffee cup, an open guitar case, empty except for a few coins and a lone cigarette, a plastic bag caught hanging in a bare tree limb. Landers elevates the ordinary into something worthy of looking at and contemplating. Untitled (San Gennaro Fest balloons) was taken on Mulberry Street in 1995 during the 11-day San Gennaro Festival, an annual event that brings over one million people to the streets of Little Italy in New York City. Although it is a celebration of faith, this event is renowned for a festive atmosphere that verges on excess. In Landers’ photograph, the balloons fill the entire frame, mimicking the overindulgence of the festival, but also signifying the purity, and perhaps, the original intent of the celebration. This work is reproduced in the catalogue published by MTV Press, which is included in this lot. Kevin Landers (b. 1965 Springfield, Massachusetts) attended the School of the Art Institute in Chicago. He has exhibited his sculptural work and photographs at Atlanta Contemporary Art Center, Galerie Anne de Villepoix in Paris, David Zwirner in New York, Elizabeth Dee Gallery in New York, Angstom Gallery in Dallas and White Columns in New York. The artist lives and works in New York City.

Untitled (San Gennaro Fest balloons) 1995 C-print 14¼ x 197/8 inches Edition of 3, 1 A.P. Edition AP2 Signed, dated and numbered verso: Kevin Landers 95 AP#2 This lot is accompanied by the book Jackpot Kevin Landers, published by MTV Press, and signed by the artist. Courtesy of Kevin Landers Estimated Value: $1,800 Minimum Bid: $500

Sean Landers

Sean Landers is best known for using his personal experience as public subject matter and for employing diverse styles and media in a performative manner. Regardless of the medium he chooses, Landers reveals the process of artistic creation through humor and confession, gravity and pathos. He blurs the lines between fact and fiction, reality and fantasy, sincerity and insincerity, while presenting a portrait of the artist’s consciousness. The twin strategies of personal material and formal multiplicity allow him to infiltrate his viewers’ consciousness with raw truths about contemporary society, and about the art world in particular, frankly and fearlessly. The viewer’s identification with the artist allows for a deeper understanding of oneself and one’s humanity. Moby Dick is a study for a new project Landers is currently working on for “Art Unlimited,” an annual international exhibition that takes place in Basel, Switzerland in June. For Landers, the great white whale can be considered to be an absolute embodiment of an entire life’s oeuvre. It is a “thing” in its purest form, which inherently knows it must survive the test of time, coming through all obstacles, in order to become “immortal.” This drawing can be considered to be the first “word” in a dialogue that comments on all artists’ ultimate desire to impact the world and live forever through art that is appreciated by generations to come. Sean Landers (b. 1962 Springfield, Massachusetts) received an MFA from Yale University School of Art in 1986 and is represented in numerous major museum and public collections including the Whitney Museum of American Art, New York, Walker Art Center, Minneapolis, and Tate Modern, London. His work is currently on view at the New Museum, New York, as part of “NYC 1993: Experimental Jet Set, Trash and No Star,” and has been seen in exhibitions at MoMA PS1, New York; Whitney Museum of American Art, New York; Massachusetts Museum of Contemporary Art, North Adams; Serpentine Gallery, London; Saatchi Gallery, London; and the Venice Biennale, Athens Biennale and Berlin Biennial. He lives and works in New York City. www.petzel.com www.seanlanders.net

Moby Dick 2013 Gouache on paper 11 x 14 inches (27.9 x 35.6 cm) Signed and dated recto: Sean Landers ’13 and signed, dated and titled on verso: Sean Landers “Moby Dick” 2013 Courtesy of Sean Landers (Penelope ’17) and Petzel Gallery Estimated Value: $10,000 Minimum Bid: $2,000

Louise Lawler

Louise Lawler developed her individual style during the early 1980s, when great growth in the overall economy and in the art market took place. At this time, material goods were seen as a demonstration of power and financial wealth and collecting artworks became associated with the accumulation of cultural capital. Lawler creates photographs that include images of artworks by other artists as they are displayed in collector’s homes or in institutions. Thus, her images are an exploration of the social, economic and environmental factors that shape the definition of a work of art within our culture. By depicting other artist’s works of art within her own, Lawler’s images challenge traditional ideas of originality, authorship, the influence of context in the meaning of a work of art and of the market in its commercialization. In Freud’s Shirt, a Frank Stella painting is reflected in the gloss of a Modernist table. This mirror image of the art in the furniture serves as the means for Lawler to investigate the private life of art. Here, she is asking the questions about whether the art is in the picture, in the reflection, in memory, in the materiality of the work or elsewhere. In addition to being a strong example of Lawler’s practice, this piece provides an excellent rendition of the vibrant colors and strong geometry of the Stella, both in the work and its likeness. Louise Lawler (b. 1947 Bronxville, New York) graduated from Cornell University in 1969. She has exhibited extensively throughout the United States and Europe. Recent solo exhibitions of her work have been held in institutions such as the Wexner Center in Ohio in 2006, Dia:Beacon in Beacon, NY in 2005, and the Museum for Gegenwartskunst, Kunstmuseum Basel in Switzerland in 2004. She has also participated in exhibitions in major institutions such as the Metropolitan Museum of Art in New York, the National Museum of Art in Oslo, and the Musée d’Art Moderne de la Ville de Paris. Lawler has participated in two Whitney Biennials. The artist lives and works in Brooklyn. www.metropicturesgallery.com

Freud’s Shirt 2001/2003 Cibachrome, matted Image: 5 x 4½ inches (12.7 x 11.4 cm) Matt: 1315/16 x 113/8 inches (35.6 x 28.8 cm) Edition of 100 Edition 54 of 100 Numbered on verso 54/100 Courtesy of Ben Hunter and Tina Rosenbaum (Hogan ’24, Jakob ’18, Marley ’21) and Metro Pictures Estimated Value: $3,500 Minimum Bid: $1,000

Roy Lichtenstein

American artist Roy Lichtenstein was one of the founders of the 1960s Pop Art movement. Incorporating references to popular culture and mass media—especially comic book illustrations, cartoons and newspaper advertisements—into his work, Lichtenstein developed a characteristic artistic style based on bold lines, bright colors, patterns, and especially Benday dots, as well as the use of text. Like such contemporaries as Johns, Rauschenberg and Warhol, he introduced a new sense of irony and critical distance into art, a departure from the preceding Abstract Expressionists who were fascinated by tragic and timeless emotions. Lichtenstein seemed to remove himself from the physical appearance of his works, but by combining high and low art forms and mixing image and witty text, he sought to provoke the viewer to ask questions about the implicit meanings of style. Throughout his extensive career, Lichtenstein produced a large and sundry print oeuvre. However, Goldfish Bowl (1981) is the only print devoted to this subject, which he treated many times in paintings, drawings and sculpture. The teakwood blocks for the print were originally cut in India during Lichtenstein’s visit in 1978 and were reworked by Tyler Graphics Ltd. in early 1980. Lichtenstein’s loosely defined series of goldfish bowls is frequently discussed as reflecting a dialogue with Henri Matisse’s paintings, several of which use the same subject. The affinity between Lichtenstein and Matisse was the subject of an exhibition, “Still Life with Sculpture: Lichtenstein and Matisse,” in 2003 at Mitchell-Innes & Nash in New York. Since Roy Lichtenstein’s (b. 1923 New York, New York–1997 New York) emergence as an originator of Pop Art, his work has been collected both nationally and internationally and has been the subject of major solo and group exhibitions. “The Prints of Roy Lichtenstein” was held at the National Gallery of Art, Washington, D.C. in 1994 and was the first comprehensive exhibition of his prints. Most recently, “Roy Lichtenstein: A Retrospective” has been the first major exhibition of his work following his death in 1997; it was previously shown at the Art Institute of Chicago, the National Gallery of Art, Washington, D.C. and is opening at the Tate Modern in London on February 21, 2013. President Clinton awarded Lichtenstein the National Medal of Arts in 1995. www.lichtensteinfoundation.org www.imageduplicator.com

Goldfish Bowl 1981 Woodcut on natural handmade Okawara paper 251/16 x 18¼ inches (63.6 x 46.4 cm) Edition of 30 Edition 14 of 30 Signed and dated: rf Lichtenstein ’81 Courtesy of Anonymous Estimated Value: $15,000 Minimum Bid: $4,000

Jason Loebs

Jason Loebs is an artist whose work is minimal and elegant by nature, yet reconfigures and constructs history. He uses and enlarges the loop-holes, margins and blind spots of recording and reproduction techniques by generating images that look as if they represent “nothing” yet are densely packed with historical and cultural signifiers. He has investigated the particular attributes and material effects of newspaper printing presses, credit cards, flat bed scanner sensors, short-wave radio signals and the like. Causa Sui (1), 2011 is related to Loebs’ 16mm film of the same year titled The Smoking Observer. Both works are generated from his discovery that cellulose acetate is used in cigarette filters and photographic film base. From this coincidence, other formal and conceptual themes arise, including how film and cigarettes both make use of heat and light as well as cylindrical and circular motifs. Temporal elements such as duration and decay, luminescence and the extinguishment thereof, also play significant roles in this burning cigarette piece and in the artist’s practice more generally. Jason Loebs (b. 1980 Hillside, New Jersey) studied at Pennsylvania Academy of the Fine Arts in Philadelphia, Yale Norfolk Program in New Haven, The Art Institute of Chicago and the Whitney Museum Independent Study Program in New York. Loebs had a solo exhibition at Essex Street gallery in 2011 and will have his first European solo exhibition in April, 2013 at Campoli Presti in London. His work has been included in group exhibitions at James Cohan Gallery, New York; Almine Rech, Basel; Massimo De Carlo, Milan; and Bortolami Gallery, New York. The artist lives and works in New York City. www.essexstreet.biz

Causa Sui (1) 2007 Digital C-print 16¾ x 117/8 inches (42.5 x 30.2 cm) Edition of 5 Edition 1 of 5 Signed, dated and numbered verso: Jason Loebs 2007 1/5 Courtesy of Jason Loebs and Essex Street, NY Estimated Value: $1,000 Minimum Bid: $300

Nate Lowman

Nate Lowman’s work includes collage and appropriation, often incorporating and manipulating elements such as graffiti and print media. His critique extends to subjects including celebrity culture, consumerism and the American gun culture. Lowman also sometimes works serially; a body of work on gun culture includes handmade and graphic pieces such as Bullet Hole (2005), a silkscreen of a bullet hole rendered in a cartoonish Pop aesthetic. Paper Airplane depicts the urban legend where a folded twentydollar bill creates an image of the twin towers. This print brings to mind the parallel fixations of contemporary American society on finance and terrorism, and the American government’s suggestion that we shop our way out of this tragedy, while evoking Andy Warhol’s disaster works. Nate Lowman (b. 1979 Las Vegas, Nevada) received a BS from New York University in 2001. Solo exhibitions include Midway Contemporary Art Center, Minneapolis (2006), and Astrup Fearnley Museet for Moderne Kunst, Oslo (2009) and a current exhibition at the Brant Foundation in Greenwich, CT. His work has been included in group exhibitions, at MoMA P.S.1, New York (2005); Hessel Museum of Art and The Center for Curatorial Studies Galleries, both at Bard College, Annandale-on-Hudson, New York, and Serpentine Gallery, London (all 2006); the Moscow Biennial of Contemporary Art (2007); New Museum of Contemporary Art, New York (2007); and Busan Biennial, South Korea (2008). A suite of works was also included in “Haunted: Contemporary Photography/Video/Performance” at the Solomon R. Guggenheim Museum, New York (2010). Lowman lives and works in Brooklyn.

Paper Airplane 2011 Archival inkjet print 24 x 20 inches (61 x 50.8 cm) Edition of 100 Pub Proof 2 of 2 Signed, dated and numbered verso: Nate Lowman ’11 Pub Proof 2/2 Courtesy of Nate Lowman Estimated Value: $400 Minimum Bid: $250

Daniel Joseph Martinez

Los Angeles based-artist Daniel Joseph Martinez uses diverse media—including sculpture, photography, performance and installation—to make conceptual works that often take the form of provocations and public interventions. Frequently employing beauty to reawaken our senses, he pairs formal proposals with content that prompts us to question the politics of representation. Since the 1980s, the history of abstract painting, the war on terror, and Hollywood special effects have all been incorporated by Martinez into projects that reveal the proximity of beauty and horror in contemporary American life. Although Martinez often incorporates text to make works that use advertising and propaganda, he does so most poetically in the series “If Only God Had Invented Coca Cola Sooner! Or, The Death of My Pet Monkey.” Printed in a workshop in Los Angeles known for using a wood block printing technique to make affordable posters for its mostly Latino clientele, these prints feature what Martinez calls “phrases.” As declarations, manifestos, slogans and even sounds, the meaning of the various texts can vacillate between reading as hostile and pathetic, beautiful and mundane. After selecting the phrases and monochromatic fields that constitute their backgrounds, he ensured that text and color would be combined by chance by asking the commercial printer to pair the text and backgrounds as he saw fit. Daniel Joseph Martinez (b. 1957 Los Angeles, California) is a professor at the University of California, Irvine. In addition to solo exhibitions at the Simon Preston Gallery in 2012 and 2007 and at LAXART in Los Angeles in 2012 and 2006, he represented the United States of America in the Cairo Biennial in 2006. Martinez’s work appeared in group exhibitions at The Museum of Modern Art in New York in 2012, and at Los Angeles County Museum of Art and Museum of Contemporary Art, both in Los Angeles, in 2011 and 2010. His works are in the collections of The Museum of Modern Art in New York, the Cisneros Fontanals Art Foundation in Miami, the Linda Pace Foundation in San Antonio, and the Whitney Museum of American Art in New York.

Untitled 2004 set of two prints from the series “If Only God Had Invented Coca Cola Sooner! Or, The Death of My Pet Monkey” 2004 Wood block prints 28 x 22 inches each (71 x 55.8 cm) Artist’s Proof Signed, dated and numbered verso: Martinez 8-13-2004 A.P.

www.simonprestongallery.com

Courtesy of Anonymous Estimated Value: $3,500 Minimum Bid: $1,000

Peter Max

Peter Max is a European-born artist raised in Shanghai, China. He immigrated to the United States of America at the age of 16. During the 1960s, Max developed his distinctive “Cosmic ’60’s’’ style, with its highly recognizable line work and bold color combinations. Max has been successively called a Pop artist, a Neo-Fauvist and an Abstract Expressionist. Max works in multiple media including painting, drawing, collage, printmaking, sculpture, video and digital imagery. With his border murals greeting millions of people entering the United States of America each year, Max seeks to portray truly American themes in his art. Flowers are an important subject matter for Max, and he has painted them throughout his career. While much of his flower imagery, such as the image on Vase of Flowers, is painted in a NeoFauvist style, some are abstracted. An environmentalist who favors simple shapes, Peter Max finds flowers an ideal vehicle for his exploration of vibrant colors. Peter Max (b. 1937 Berlin, Germany) studied at The Art Student’s League in New York City. When he finished his formal art training, he became fascinated with new trends in commercial illustration and graphic arts and won awards for album covers and book jackets. Max has achieved his place in history, having painted for various heads of state, including six United States Presidents. Max has had solo shows at the Berlin Kunsthalle, Corcoran Gallery of Art, Washington, D.C., Museum of Fine Arts, Houston, and many other international institutions. The artist lives and works in New York City. www.petermax.com

Vase of Flowers Acrylic on paper 16 x 12 inches (40.6 x 30.5 cm) Signed recto: Max Courtesy of Peter Max Estimated Value: $5,500 Minimum Bid: $500

Philip Maysles

This work by Philip Maysles, Lynda Gunn as Ruby Bridges and David Gunn as Himself, is inspired by the American artist Norman Rockwell’s painting The Problem We All Live With. While visiting the Houston Museum of Fine Art, Maysles encountered the Rockwell painting and noticed a connection between its subject matter and the children’s group that happened to be visiting at the time. Rockwell’s 1964 painting is an iconic image of the civil rights movement in the United States and depicts Ruby Bridges, the first African-American student to attend a desegregated school in New Orleans in 1960, on her first day of school. Maysles’ drawing is inspired by the actual making of the 1964 painting and presents the model who posed for Rockwell, Lynda Gunn, and her behind-thescene father, David Gunn, the first African-American to teach gym in a New England prep school. Philip Maysles (b. 1978 New York, New York) earned his MFA in Art from the California Institute of Art (CalArts) in 2005 and his BA with honors from Brown University in 2002. He has taught documentary film and graffiti arts to young people and was an adjunct lecturer in Art at Rice University and the University of Houston (2005-2007). His work in painting and drawing has been exhibited at MoMA PS1, New York, Artist Space, New York, and Monte Vista Projects, Los Angeles. Philip is a recipient of an Inner City Arts Council Purchase Prize, Milwaukee, and the Marie Helen Hicks Prize from Bell Gallery, Brown University, Providence, RI. He has contributed essays to Small Axe: A Journal of Caribbean Thought, Indiana University Press and the CORE Journal, Museum of Fine Arts, Houston, Press. Philip Maysles previously served as the Maysles Cinema director from May 2008–August 2008 and co-director with Jessica Green from September 2008 - June 2011. He lives and works in New York City.

Lynda Gunn as Ruby Bridges and David Gunn as Himself 2009 Graphite on paper 30½ x 21½ inches (77.5 x 54.6 cm) Courtesy of Agnes Gund (Grandparent of Kofi ’17, Rio ’17, Tenzin ’22) Estimated Value: $6,500 Minimum Bid: $1,500

Mariko Mori

Mariko Mori, a former fashion model in Tokyo, began her artistic career in London in the late 1980s and early 1990s, using her own body as the model for a number of cyber-based fantasies captured in photographs and videos. Frequently dressing herself in costume, for example as a mermaid, an alien and a cyborg, Mori asked viewers to contemplate the meaning of identity in an urban world and the role of technology in developing the human race. Beginning in the late 1990s, Mori’s artistic focus changed and her works have combined art and technology to create environments that foster a sense of the transcendental and awaken our awareness of a universal spiritual consciousness. More recently Mori has been using her sculptures, installations, photographs and video works to explore the cosmos and regeneration, as well as prehistoric and ancient religions and spiritualities, such as Jomon, Buddhism and Shinto. This work, Tom Na H-iu Model, is the model for one of Mori’s most iconic works, the monumental monolith-like sculpture Tom Na H-iu (2006). The sculpture represents the ancient Celtic stelae that served as places of spiritual transmigration. Tom Na H-iu Model was included in an exhibition at Deitch Projects in New York, which featured the 15-foot high Tom Na H-iu and two other large-scale sculptures, Roundstone and Flatstone. Mori’s work brings together the past and present, creating a sense of universality by melding the high-tech and ancient into her sculptures. Mariko Mori (b. 1967 Tokyo Japan) studied fashion design in Tokyo before attending the Chelsea College of Art in London (1989-92) and the Whitney Museum of American Art Independent Study Program in New York (1992-93). Mori’s work Wave UFO was exhibited in New York with the Public Art Fund and the Palazzo Ducale, Genoa, before being included in 2005 Venice Biennale. She has had solo exhibitions at the Asia Society, New York; Galerie Emmanuel Perrotin, Paris; Deitch Projects, New York; Museum of Contemporary Art, Tokyo; Centre Georges Pompidou, Paris; The Brooklyn Museum of Art, New York; and the Los Angeles County Museum of Art. Most recently, Mori was the subject of the exhibition “Mariko Mori: Rebirth” at the Royal Academy of Arts in London from December 2012 to February 2013. Mori lives and works in New York City.

Tom Na H-iu Model 2006 Lucite 32 x 8 x 4 inches (82.6 x 21.6 x 10.2 cm) Artist’s Proof This lot is accompanied by a Certificate of Authenticity signed by the artist. Courtesy of Mariko Mori (Manna ’19) Estimated Value: $12,000 Minimum Bid: $3,500

Stan Narten

Starting with a figurative digital image, Stan Narten uses a computer to distort and deconstruct the image, blurring it beyond immediate recognition. The inspiration, or original images, for his best-known abstract paintings come from European Old Master paintings, which often deal with mythological or religious themes. However, he has also referenced film and television stills, microorganisms and other contemporary subjects in his paintings. After digitally manipulating the image, Narten abstracts the work further by adding additional hand-drawn elements to distort the picture and create visual anomalies. He uses classical painting techniques to build up his paintings with layers of glazes so that his works have the luminous glow akin to the Old Masters. Narten creates paintings that are the products of new and old artistic techniques and plays with the differentiation between figuration and abstraction. Through Narten’s method of abstraction, he toys with man’s innate predisposition to read his paintings from an anthropomorphic viewpoint. While the figurative reference is not immediately obvious in Balao Estrela, the viewer searches through the dense, chaotic image to try and find the true representation. Stan Narten (b. 1979 Sofia, Bulgaria) received a dual BS in industrial and mechanical engineering from the University of Tennessee, Knoxville before going on to the School of Visual Arts, New York and receiving his MFA in Fine Arts in 2008. He has had two solo exhibitions at Kravets/Wehby Gallery, New York and, most recently, a solo exhibition at Galerie Richard in Paris in May-June, 2012. He has also participated in group exhibitions at Kravets/ Wehby Gallery, New York and the “Unframed Acria Benefit” held at 15 Union Square West, New York. In 2010, he was included in “The Incomplete-Paris” at Galerie Jean-Luc & Takako Richard, Paris, which presented 28 young artists whose works are collected by Hubert Neumann. Narten lives and works in Brooklyn. www.kravetswehbygallery.com www.stannarten.com

Balao Estrela 2009 Oil on linen 15 x 24 inches (31.8 x 61 cm) Signed and dated verso: Stan Narten 2009 Courtesy of Stan Narten and Kravets/Wehby Gallery Estimated Value: $3,000 Minimum Bid: $1,200

alice neel

Alice Neel was arguably the most important New York-based figurative painter of the 20th century. With a practice spanning the 1920s to the 1980s, she is best known for her portraits of family, friends, and a wide variety of others from artists to psychologists to homeless bohemians. Neel painted her subjects honestly, and her works offer a forthright portrayal of and dialogue with the city in which she lived. Painting her way through the Depression, McCarthyism, the civil rights movement, the sexual revolution and second-wave feminism, Neel sensitively addressed the key issues of gender, race and social class of her time. The resurgence of portraiture as a vibrant field confirms Neel’s ongoing legacy. Neel’s lifelong interest in portraying children sprung from personal tragedy. She had two daughters with her husband, the Cuban artist Carlos Enriquez: Santillana, who died of diphtheria in 1928, and Isabetta, who was raised by her father’s family in Havana after he left Neel in 1930. She went on to have two more children, both boys. It is evident from her portraits of children that she identified strongly with the small and helpless, and they in turn with her; she was able to convince even young sitters to pose for her for long periods of time, or, alternatively, to retain in her mind for hours the fleeting features of children in motion whom she wished to paint. This print is particularly poignant because it depicts Olivia, Neel’s first grandchild, gazing gently at her grandmother. Here, Olivia, sprawled at ease across a Modernist chair, is beautifully rendered in Neel’s signature style of black outlines and strong colors. From the 1960s onwards, the work of Alice Neel (b. 1900 Merion Square, Pennsylvania–1984 New York) was exhibited widely in the United States. She had her first retrospective at the Whitney Museum of American Art, New York, in 1974, and the Whitney mounted another solo exhibition of her work in 2000, which traveled to the Addison Gallery of American Art at Phillips Academy, Andover, MA; Philadelphia Museum of Art; Walker Art Center, Minneapolis; and the Denver Art Museum. Since 2008, The Estate of Alice Neel has been represented by David Zwirner, where her work was presented in 2009 and in 2012. In 2010, the Museum of Fine Arts, Houston organized a major survey, “Alice Neel: Painted Truths,” which traveled to Whitechapel Gallery, London, and Moderna Museet Malmö, Sweden. Her work was recently on view in a solo exhibition in 2011 at the Douglas Hyde Gallery, which formed part of the Dublin Contemporary 2011. Work by the artist is represented in major museum collections worldwide. www.aliceneel.com

Olivia 1980 Silkscreen 33 x 26 inches (85.1 x 66 cm) Edition of 175 Signed, dated and numbered recto: Neel ’80 HC 10/30 Courtesy of Coco and Richard Neel Estimated Value: $3,000 Minimum Bid: $2,000

Ernesto Neto

Since the mid-1990s, Ernesto Neto has developed one of the most widely exhibited and influential bodies of work in contemporary sculpture and installation. Neto draws inspiration not only from the biomorphism and Modernist abstraction of Calder and Brancusi, but equally from the conceptual, social and performative installations of his Brazilian predecessors Lygia Clark and Helio Oiticica. Incorporating a combination of commonplace and organic materials—stockings, spices, sand and shells among them—Neto’s works engage all five senses, inviting the visitors to interact with the artwork itself and with each other. This sculpture, Cytorganepylea, embodies Neto’s typical use of the modernist abstract-organic form and is a perfect example of his sculpture on a small scale. Rather than the viewer inhabiting its environment, it is the other way here—it inhabits ours. Recent solo exhibitions of work by Ernesto Neto (b. 1964 Rio de Janeiro, Brazil) include “Cuddle on the Tightrope,” Nasher Sculpture Center, Dallas (2012); “La lengua de ernesto: retrospectiva 1987-2011,” Museo de Arte Contemporáneo de Monterrey, MARCO, Mexico; traveling to Antiguo Colegio de San Ildefonso, Mexico City, Mexico (2011-12); “Ernesto Neto: O Bicho SusPensa na PaisaGen,” Los Molinos Exhibition Hall, Faena Art District, Buenos Aires, Argentina (2011); “Ernesto Neto: The Edges of the World,” Hayward Gallery, Southbank Centre, London (2010); “Ernesto Neto: Intimacy,” Astrup Fearnley Museum of Modern Art, Oslo (2010), among others. In 2001, he received the honor of representing Brazil at the 49th Venice Biennale. The artist’s work is including in major collections through the world, such as The Museum of Modern Art, NY; The Tate Gallery, London; CAC Centro de Arte Contemporáneo Malága, Málaga, Spain; Carnegie Museum of Art, Pittsburgh; Centre Georges Pompidou - Musée National d´Art Moderne, Paris; Contemporary Art Center of Inhome, Brazil; Solomon R. Guggenheim Museum, New York; Henry Art Gallery, University of Washington, Seattle; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Herbert F. Johnson Museum, Cornell University, Ithaca, NY; Milwaukee Art Museum, Milwaukee; Museum Boijmans van Beuningen, Rotterdam; Museum of Contemporary Art, Los Angeles; The San Francisco Museum of Modern Art, San Francisco; and The Albright Knox Art Gallery, Buffalo, NY. The artist lives and works in Rio de Janeiro. www.tanyabonakdargallery.com

Cytorganepylea 2003 Polyamide textile, embroidery beads 12 x 12 x 11/2 inches (30.75 x 30.75 x 3.875 cm) Edition of 5 Edition 2 of 5 This lot is accompanied by a Certificate of Authenticity signed by the artist. Courtesy of Ernesto Neto and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $2,500 Minimum Bid: $200

louise nevelson

Louise Nevelson was a Russian-born American artist who worked in New York City. She is best known for her landscape wall sculptures into which she incorporates pieces of wood and found objects. Painting her assemblages black to obscure the original identity of the elements and unify them formally, she succeeded in transforming a collection of ordinary objects into enchanting and mysterious structures, incorporating influences from cubism, action painting and color field painting. Nevelson also worked in etching and collage throughout her long and prolific career. This Untitled collage is part of a three-decade fascination with the medium. Nevelson created a series of works similar to Untitled that were just a step removed from her low-relief wall sculptures. Because she never sketched, her collages are an important part of her artistic practice and tantamount to studies; Nevelson felt deeply connected to the process of collage and, in fact, compared much of her work and life to collages. Louise Nevelson (b. 1899 Kiev, Russia-1988 New York) immigrated to the United States as a young child. In the 1920s, she moved to New York City, and studied visual arts with Kenneth Hayes Miller, Hilla Rebay and briefly with Hans Hofmann in Munich before working as an assistant to Diego Rivera on his WPA murals. In the mid-1950s, when she began to put her assemblages into boxes, the chief curator at The Museum of Modern Art in New York included Nevelson in the career-defining 1959 “Sixteen Americans” show. Nevelson’s first major museum retrospective took place in 1967 at the Whitney Museum of American Art, New York. Princeton University commissioned Nevelson to create a monumental outdoor steel sculpture in 1969, the same year the Museum of Fine Arts, Houston, gave her a solo exhibition. Other Nevelson shows took place in 1970 at the Whitney Museum of American Art and in 1973 at the Walker Art Center in Minneapolis. One of the outstanding achievements in her career was Louise Nevelson Plaza, completed in 1979, an outdoor environment of seven sculptures in New York’s financial district. She received many honors including the Gold Medal Sculpture from the American Academy of Arts and Letters in 1983, the National Medal of the Arts in 1985, and the Solomon R. Guggenheim Museum’s Great Artist Series Award in 1986. www.louisenevelsonfoundation.org www.pacegallery.com

Untitled 1976 Cardboard, paper and wood collage on board 22 x 18 inches (55.9 x 45.7 cm) Signed and dated recto: Louise Nevelson - 76 Courtesy of The Pace Gallery Estimated Value: $25,000 Minimum Bid: $5,000

manu parekh

Manu Parekh is a one of the preeminent contemporary Indian artists. Born in 1939 in Ahmedabad, he lives and works in New Delhi. Parekh is very strongly influenced by his surroundings. His paintings focus on the pain of the human condition and provoke viewers to take notice of suffering in the world around them. Whether abstract or figurative, his works evoke emotion and anguish through intense color and prominent lines. Orange Composition is made up of strong interactions of texture, shape and color. Using unique forms, Parekh renders the complexities of modern life. Whether he is painting faces, landscapes or pure organic abstraction as in this painting, Parekh is always expressing the humanity that surrounds him. Manu Parekh (b. 1939 Ahmadabad, India) studied painting at the prestigious J.J. School of Art in Mumbai. Parekh has exhibited extensively throughout the United States of America, India and Europe, including Bose Pacia Modern (New York), The Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution (Washington, D.C.), National Gallery of Modern Art (New Delhi), Vadehra Art Gallery (New Delhi), Sakshi Gallery (Mumbai), and Topical Museum (Amsterdam). Parekh has received numerous awards such as the Padmashree of India, Lalit Kala Akademi National Award and President of India’s Silver Plaque Award. The artist lives and works in New Delhi, India. www.bosepacia.com

Orange Composition 1998 Mixed media on board 29 x 23 inches (73.7 x 58.4 cm) Signed and dated recto: Manu Parekh 7/98 Courtesy of Shumita and Arani Bose Collection, New York Estimated Value: $5,000 Minimum Bid: $1,000

Erik Parker

In his work, Erik Parker employs inventive architectural themes and a signature neon palate. He creates bold, graphic compositions that offer up a modern view of portraiture and still-life. His paintings draw their inspiration from American subcultures—psychedelia, underground comic books, the Chicago Imagists, hip hop and heavy metal—as well as from Picasso, Francis Bacon, Henri Matisse and Roy Lichtenstein. Still Life with Dr. Dre draws on Parker’s current interest in travel. Produced concurrently with paintings that depict the jungle, this body of work evokes vicarious voyages since Parker, like Henri Rousseau who inspires him, rarely travels. Parker researches exotic locales on the internet and recreates them in his distinctive style. Erik Parker (b. 1968 Stuttgart, Germany) studied at the University of Texas, Austin, with Peter Saul before receiving his Master of Fine Arts from Purchase College of the State University of New York. He was included in the first “Greater New York” show at MoMA PS1 in 2000 and the Market Place, Bronx Museum, New York. He has had recent solo exhibitions at The Cornerhouse Gallery in Manchester, England; De Appel in Amsterdam; the Modern Art Museum in Fort Worth, TX; Colette in Paris; Honor Fraser in Los Angeles; Paul Kasmin in New York and Galleri Faurschou in Copenhagen, Denmark. A solo exhibition of Parker’s work is on view at The Aldrich Contemporary Art Museum in Ridgefield, CT, through February 24, 2013. The artist lives and works in New York City. www.paulkasmingallery.com

Still Life with Dr. Dre 2013 Silkscreen with hand coloring and collage 22 x 30 inches (55.9 x 76.2 cm) Monoprint Signed Courtesy of Erik Parker Estimated Value: $5,000 Minimum Bid: $1,650

richard phillips

Richard Phillips has been exhibiting his work internationally since the early 1990s. Although on the surface his work can seem comparable to that of other artists who are using realistic imagery as their language, it soon becomes quite clear that Phillips’ work goes beyond pure representation and has a subversive strain running through it. He purposefully chooses imagery and subject matter that are iconic in their own right, as if to compare what popular culture holds dear to the ways in which art culture operates. Fluidly moving between glossy, gorgeously executed paintings and slick films presenting single moments in time much as paintings do, Phillips has found an exciting crossroads from which to examine how audiences process identity, politics, fame, sexuality and desires. Phillips is that rare artist who has the ability to immerse himself in popular culture without diluting his stature as a serious artist. Anyone who has seen the television series Gossip Girl will already be familiar with the images of Scout-Crop and Spectrum, as they are prominently featured in just about every episode. Scout-Crop appears in the bedroom of one of the main characters. These two different items are made from the “Prop Art” reproduction of Phillips’ original work—an interesting play on the notion of reproduction and authenticity. Richard Phillips (b. 1962 Marblehead, Massachusetts) has appeared as a guest judge on Bravo’s television series Work of Art: The Next Great Artist and has also appeared as himself on Gossip Girl. Phillips has had solo exhibitions at Le Consortium, Dijon, France (2004) and Kunstverein Hamburg, Germany (2002). His work has most recently been seen at Gagosian Gallery in New York (2012) and Hong Kong (2011), and White Cube, London (2011). The artist lives and works in New York City. www.gagosian.com www.richardphillips.com

Scout-Crop 2009 Printed canvas 30 x 361/2 inches (76.2 x 92.7 cm) Produced by Art Production Fund This reproduction of Richard Phillips’ Scout painting is not an edition, but is signed verso: XOXO Richard Phillips. Courtesy of Richard Phillips Estimated Value: $250 Minimum Bid: $100

Spectrum 1998 Print on canvas 30 x 40 inches (76.2 x 101.6 cm) Produced by Art Production Fund Signed verso: Richard Phillips This work will be personally dedicated to the winner and inscribed by the artist according to the winner’s wishes. It will also be accompanied by two photographs, both taken on the set of the television series Gossip Girl; one is of the work installed on the set of the VanDerWoodsen’s Upper East Side apartment, and the other is of the artist with Blake Lively in front of the image of Spectrum. Courtesy of Richard Phillips Estimated Value: $250 Minimum Bid: $100

Ed Ruscha

Ed Ruscha is one of the leading artists of his generation. Soon after he moved to Los Angeles in 1956, he began to make work utilizing the LA cityscape as a subject. In the 1960s, he systematically compiled his deadpan photographs of gas stations, parking lots and every building on Sunset Strip into books he designed. The simplicity of the graphic layout, combined with a minimalist presentation of the subjects, has been a hallmark of his artistic practice. Using a similar approach in his paintings and drawings, Ruscha’s compositions are neutral and objective, placing as much emphasis on the pictorial field as on the ostensible subject. They combine a minimalist approach to art making with a graphic aesthetic to present single words or short sentences across slick backgrounds of sunsets, mountain ranges, or cityscapes. The texts seem as if they were chosen for their visual impact, rather than their content, and bear equal aesthetic weight with the background, while carrying a deadpan, ambiguous poetry. This work, New Wood, Old Wood, is based on a piece of timber the artist found in the desert. Ruscha has reproduced the wood in its original new condition, and then again in an aged version. As Ruscha said, “Weathered wood is something that figures into my life as an artist. I don’t know why, but it is just one of those things that you feel comfortable with. I was attracted to it, and I had the desire to make something out of it.”* His examination of the new and old is reminiscent of his series, “Then & Now,” in which he photographed buildings along Hollywood Boulevard in 1973, and then again 30 years later in 2003. Other editions of this print have been exhibited at the Portland Art Museum, Oregon in 2008. The work of Ed Ruscha (b. 1937 Omaha, Nebraska) has been the subject of numerous solo exhibitions in the United States and internationally, such as The Whitney Museum of American Art, New York (2004, travelled to the Museum of Contemporary Art, Los Angeles, and the National Gallery of Art, Washington, D.C.), and the Hayward Gallery, London (2009, travelled to Haus der Kunst, Munich, and Moderna Museet, Stockholm in 2010). He represented the United States of America at the 51st Venice Biennale in 2005. His work is found in major museum collections worldwide. www.gagosian.com *www.portlandart.net/archives/2008/06/i_will_see_wher.html Interview with Ed Ruscha

New Wood, Old Wood 2007 Mixographia diptych relief print on handmade paper 1511/16 x 711/8 x 21/2 inches (framed) (40 x 180.5 x 6.4 cm) Edition of 75 Edition 20/75 Signed, dated and numbered recto: Edward Ruscha 2007 20/75 Courtesy of Larry Gagosian Estimated Value: $15,000 Minimum Bid: $4,500

David Salle

The work of David Salle gained critical recognition in the 1980s when he was one of the leaders of the movement to return to figuration in painting. His large-scale, collage-based, formalist/figurative paintings often have art historical references. Motifs, colors, textiles, images and occasionally objects or words are combined, as in memory. Techniques, too, vary, including grisaille, monochrome, outline and traditional brushwork, as well as influences from film such as close-ups, zooms, panning, montage and splicing. Erotic elegance is set beside formal elegance as a nude emerges from behind a vase. Compositions across several panels that address a variety of themes are often unified by color that is repeated throughout. This charming drawing is of a dozing dog, a subject Salle returns to repeatedly over the course of his career. His interest in pop culture, and particularly in cartoons, is evident here. David Salle (b.1952 Norman, Oklahoma) grew up in Wichita, Kansas. In 1970, he began his studies at the newly founded California Institute of the Arts in Valencia, where he worked with John Baldessari. Creating abstract paintings, installations, video and conceptual pieces, Salle earned a BFA in 1973 and an MFA in 1975, both from CalArts. His first solo museum exhibition was presented at the Museum Boijmans Van Beuningen in Rotterdam in 1983. Solo shows of Salle’s art have been organized by the Museum am Ostwall Dortmund (1986–87), Institute of Contemporary Art at the University of Pennsylvania in Philadelphia (1986), Stedelijk Museum in Amsterdam (1999), and Waddington Galleries in London (2003), among others. He has participated in major international expositions including Documenta 7 (1982), Venice Biennale (1982 and 1993), Whitney Biennial (1983, 1985 and 1991), Paris Biennale (1985), and Carnegie International (1985). The artist lives and works in New York City and Sagaponack, New York. www.davidsallestudio.net Untitled 2009 Ink on paper 12 x 18 inches (30.5 x 45.7 cm) Signed and dated recto: D.S. ’09 Courtesy of David Salle Estimated Value: $6,000 Minimum Bid: $5,000

Justin Samson

Justin Samson is a New York-based artist whose recent inspirations have included extraterrestrial encounters. In his most recent show, Samson presented new paintings and sculpture that utilize the circle, triangle, square and biomorphic shapes along with materials such as wood, fake fur and fluorescent lights. Believing that shapes are symbolic as a universal form of communication, Samson uses each one to represent an element in the universe. The abstract paintings and sculpture recently exhibited, including a chandelier of tie-died fabric and yarn, aim to attain a state in which it might become possible to glimpse an ultimate reality. All pieces come together to create one language, Multikulti, which represents the future of the planet in which we are to be united as one. Gegenschein II is in an abstract expressionist style. Paint is applied thickly and liberally and color makes an important statement. The artist has created his own frame that is an integral part of the piece. Samson is making some of the basic principles of early Modernism his own by bringing an extraterrestrial sense of light and space to his work. A graduate of the School of Visual Arts, New York, Samson (b. 1979 Milford, Connecticut) has had solo shows at John Connelly Presents in 2005 in 2009, Hiromi Yoshii, Tokyo in 2007 and Kravets/ Wehby Gallery in 2011. He has also participated in international group exhibitions in galleries throughout the world. His work is in the permanent collection of the Walker Art Center, Milwaukee. The artist currently lives and works in Philadelphia. www.kravetswehbygallery.com

Gegenschein II 2012 Oil on canvas with fiberplast and wood frame 27 x 23 inches Signed and dated verso: Justin Samson 2012 Courtesy of Justin Samson and Kravets/Wehby Gallery Estimated Value: $3,500 Minimum Bid: $1,900

Tom Sanford

Tom Sanford’s paintings and drawings reflect the dark side of society’s obsession with celebrity and popular culture. His work ranges in theme from history paintings of assassinations and political rallies to portraits of celebrity pop artists, athletes and gangster rappers. Within his paintings, Sanford frequently employs references to Renaissance Old Masters or Byzantine Icon painting while incorporating his contemporary subject matter. Sanford seeks to create art that manages to grab and keep the viewer’s attention, no matter how disturbing the underlying content may be. His images reflect an undeniable ambivalence towards both the culture presented in the works and the people who consume it, among whom he includes himself. Claiming to take an objective view of the events and people he depicts, Sanford seeks to bring his works into the cultural mainstream in the hope that what he has represented will alter the viewer’s understanding of the characters and events he portrays. Custom Mao Zedong (Pixels) is part of Sanford’s series of Custom Mao Zedong portraits, a number of which have been included in both solo and group exhibitions. In this conceptual series, Sanford exploits the advantages of globalization by outsourcing a large part of the production of these portraits to China, before finishing them in his New York studio. Chinese artists paint copies of the iconic Mao Zedong portrait and Sanford then customizes them by transforming the paintings into Western cultural icons. Sanford comments on the changing dynamics of global political, economic and cultural power through the juxtaposition of western and eastern cultural symbols. Tom Sanford (b. 1975 Bronxville, New York) received a BA from Columbia University in 1998 and an MFA from Hunter College in 2006. He has had solo exhibitions at Gallery Poulsen, Copenhagen; Leo Koenig Inc., New York; Western Projects, Los Angeles; 31 Grand, New York; and Tomoya Saito Gallery, Tokyo. His work has been included in many group exhibitions, including those at Kravets/Wehby Gallery, New York; Freight + Volume Gallery, New York; Gallery Poulsen, Copenhagen; Nassau County Museum of Art, Long Island; Stux Gallery, New York; Marlborough Gallery, New York; and the Neiman Center, Columbia University, New York. Sanford lives and works in New York City. www.kravetswehbygallery.com www.tomsanford.com

Custom Mao Zedong (Pixels) 2011 Oil on canvas 36 x 24 inches (91.4 x 61 cm) Signed, titled and dated verso: Tom Sanford Custom Mao Zedong 2012 Courtesy of Tom Sanford and Kravets/Wehby Gallery Estimated Value: $ 5,000 Minimum Bid: $ 2,000

Tomás Saraceno

Tomás Saraceno is an artist and architect internationally known for his visionary and surprising public installations that modify our perception of architectural spaces. Saraceno, who participated in the Space Studies Program of the International Space University at NASA’s Ames Research Center in California, draws heavily on scientific thinking in his work. Over the past decade, he has explored the idea of a sustainable city-in-the-sky composed of habitable, cell-like platforms that migrate as freely as clouds do, constantly transforming and reconfiguring boundaries. Harnessing hybrid geometries of the natural world, from the intricate networks of a spider’s web to the geometric structure of soap bubbles, his projects propose interdependence between spaces by emphasizing that ecological interrelations unite natural habitats with social ones. This work, D cloud module net, is part of Saraceno’s ongoing project Air-Port City / Cloud City. This sculpture is a singular component, the basic building block of the entire series—a complex threedimensional geometric known as the Weare-Phelan structure. This structure, whose form originates in nature, is a computer simulation of foam bubbles, and represents an idealized structure for the perfect packaging of spheres with a minimal surface area and maximum volume. It could be the best possible geometry for connecting solar flying-city atmospheres, as it is efficient and infinitely variable. From small-scale wooden models, to life-size interactive environments, Saraceno’s varied manifestations of this ongoing project become vehicles for the imagination as well as harbingers of new psychic and political spaces to come. Recent and notable exhibitions of work by Tomás Saraceno (b. 1973 Tucman, Argentina) include: “Tomás Saraceno on the Roof: Cloud City,” The Metropolitan Museum of Art, New York, 2012; “Tomás Saraceno – Cloud Cities,” Maison Hermès, Tokyo, 2012; “Cloud-Specific,” Mildred Lane Kemper Museum, St. Louis, 20112012; “Cloud Cities,” Hamburger Bahnhof, Berlin, 2011; “Tomás Saraceno: 14 billions,” Bonniers Konsthall, Stockholm, Sweden; traveling to BALTIC Centre for Contemporary Art, Gateshead, UK, 2010-2011. The artist lives and works in Berlin. www.tanyabonakdargallery.com www.tomassaraceno.com

D cloud module net 2011 Wood, elastic rope 231/2 x 231/2 x 231/2 inches (60 x 60 x 60 cm) Edition of 20 with 1 Artist’s Proof Edition 6 of 20 This lot is accompanied by a Certificate of Authenticity signed by the artist. Courtesy of Tomás Saraceno and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $8,000 Minimum Bid: $1,500

David Shrigley

David Shrigley is well-known for his sketchy, understated, bleakly humorous drawings and cartoons. Trained as a fine artist, he has developed a deliberately crude graphic style that gives his work an immediate and accessible appeal, while simultaneously offering insightful commentary on the absurdities of human relationships. Shrigley’s diverse practice includes photography, sculpture, animation, painting and neon signage. He has collaborated with acclaimed musicians, animating and directing videos for Blur and singer-songwriter Bonnie Prince Billie. Untitled (Work House) is typical of Shrigley’s drawings. Stylistically minimal and rendered in an immediate way, this work brings the viewer into the psyche of the artist. The text reads: I was sent there in the 19th century. It is unclear if Shrigley is commenting on a particular time in the past, or on the slow passage of time. This conceptual ambiguity highlights the subtle differences between reality and perception. David Shrigley (b. 1968 Macclesfield, England) studied environmental art at Glasgow School of Art in the early 1990s. He has published 27 books of his drawings and is a regular contributor to The Guardian’s Weekend magazine. He has had multiple solo exhibitions at Anton Kern Gallery in New York, Galerie Yvon Lambert in Paris, Galleri Nicolai Wallner in Copenhagen, Stephen Friedman Gallery in London and BQ Galerie in Cologne. Most recently he had his first major survey exhibition at Hayward Gallery in London. He lives and works in London. www.antonkerngallery.com www.davidshrigley.com

Untitled (Work House) 2010 Ink and acrylic on paper 6 x 115/8 inches (29.5 x 41.9 cm) Signed verso: David Shrigley Courtesy of Nathalie Karg and Anton Kern (Linus ’17) Estimated Value: $3,900 Minimum Bid: $1,000

E.E. Smith

E.E. Smith is a New York-based artist whose most recent body of work consists of photo-based oil prints. The still life prints in her most recent show center on games and comment on the current economic and political climate. Inspired by the 17th-century Dutch painting she saw during a trip to the Netherlands, Smith invokes the memento mori, a genre that emphasizes the brevity of life. With reference to the preference for amusement over mindfulness in modern society, her work suggests that games offer a distraction from reality, while simultaneously evoking the very issues these distractions would mask. In Broccoli (Vegetable), the humble vegetable, beautifully rendered in luminous black-and-white, becomes an important subject. Sustainable agriculture and the locovore movement as well as global warming and environmental issues are major concerns for the artist. She references all of these in this simple yet powerful image. E.E. Smith (b. 1956 Linton, Indiana) graduated from Douglass College of Rutgers University and received a master’s degree in sculpture and photography from Hunter College. Her work is represented by Kim Foster Gallery in New York. The artist lives and works in New York City. www.kimfostergallery.com

Broccoli (Vegetable) 2012 Oil print 93/4 x 7 inches (24.8 x 19 cm) Signed and dated recto: E.E. Smith ’12 Courtesy of E.E. Smith (Simon Lowe ’18) Estimated Value: $1,000 Minimum Bid: $250

Kiki Smith

Primarily self-taught, Kiki Smith has been one of the most significant American artists over the past three decades. She developed her practice while a member of Collaborative Projects, Inc.—an artists’ collective committed to promoting access to art outside the commercial art world. Smith often incorporates found and nontraditional materials such as hair and blood in her works and the influence of the craft tradition is evident in her use of embroidery and fabric. Throughout Smith’s career, she has addressed a variety of themes from death and decay to reproduction and domesticity. The human body, especially the female form, continues to be a primary point of reference throughout her oeuvre. Although Smith is best known as a sculptor, she has also devoted her career to producing prints, working in a variety of media including inkjet, lithography, etching, Xerox transfer and photogravure. Miss May is representative of Smith’s recent work which reflects her persistent interest in puppets and dolls, and alludes to the innocence and anxiety of childhood and fairy tales. The work was originally created as a benefit print for Studio in a School and was published by Universal Limited Art Editions, Inc. The work of Kiki Smith (b. 1954 Nuremberg, Germany) has been exhibited in group and solo exhibitions internationally and within the United States. Smith’s first solo exhibition was at The Kitchen in New York in 1982. In 2003, Smith’s works on paper were the focus of an exhibition at The Museum of Modern Art, New York, titled “Kiki Smith: Prints, Books and Things.” A retrospective exhibition, “Kiki Smith: A Gathering” was organized by the Walker Art Center, Minneapolis (2006), opening in 2005 at the San Francisco Museum of Modern Art and traveling on to the Contemporary Arts Museum, Houston (2006) and the Whitney Museum of American Art, New York (2006-2007). She has been included in the Whitney Biennial three times and received the Skowhegan Medal for Sculpture in 2000. Smith is represented by Pace Gallery in New York. She lives and works in New York City. www.ulae.com www.pacegallery.com

Miss May 2007 Pigmented inkjet with collage and hand additions 8 x 20 inches (45.7 x 50.8 cm) Edition of 75 Edition 51 of 75 Published by Universal Limited Art Editions, Inc. Signed, dated and numbered recto: 51/75 Kiki Smith 2007 51/75 Courtesy of Agnes Gund (Grandparent of Kofi ’17, Rio ’17, Tenzin ’22) Estimated Value: $3,500 Minimum Bid: $1,000

Sarah Sze

Sarah Sze is known for her site-specific installations, which use a myriad of everyday objects. Her practice exists at the intersection of sculpture, painting and architecture where her formal interest in light and movement is coupled with an intuitive understanding of color and composition. Her work re-contextualizes objects that normally remain on the periphery of our everyday lives, exploiting our ability to recognize them while highlighting their intimate details and reflecting our behavior in relationship to them. Time, movement and navigation are key to the experience of Sze’s work; using meticulously crafted and sometimes colorful compositions, she leads the viewer on a meandering path between microcosmic and macrocosmic worlds. This silkscreen, 2 (Darkest Blue), is from a series of prints that is an investigation into the process of sight. In this series, Sze decontextualizes the design of the Ishihara color blindness test. The test presents a circle of dots, appearing random in color and size, but containing a shape or number not visible to those with colorblindness or, depending on the pattern, only visible to those with color-blindness. In this particular print, Sze presents the design in blue and white so that regardless of the viewer’s ability to perceive color, each will always perceive this work in the same way. Sarah Sze (b. 1969 Boston, Massachusetts) received a BA from Yale University in 1991 and an MFA from the School of Visual Arts in 1997. She has received critical acclaim for her public commissions and site-specific installations, including projects for the New York City High Line, the Cartier Foundation, Carnegie International and the São Paolo Biennial. A MacArthur Fellow and Louis Comfort Tiffany Award winner, she has shown work at the Museum of Contemporary Art in Chicago, The Walker Art Center in Minneapolis, the Whitney Museum of American Art, the Asia Society in New York, and the Institute of Contemporary Art, London, among others. Work by the artist is included in many museum collections, including the Museum of Contemporary Art, Chicago; The Museum of Modern Art, New York; and the Solomon R. Guggenheim Museum, New York. Sze will represent the United States of America at the 55th Venice Biennale this year. The artist lives and works in New York City. www.tanyabonakdargallery.com www.sarahsze.com/index.html

2 (Darkest Blue) 2011 Sillkscreen on Coventry rag paper 203/4 x 203/4 inches (52.7 x 52.7 cm) framed 177/8 x 18 inches (45.4 x 45.7 cm) unframed Edition of 29; 8 Artist’s Proofs Edition 27 of 29 Signed, dated and numbered verso: Sze 2011 27/29 Courtesy of Sarah Sze and Tanya Bonakdar Gallery (Alba Jancou ’17) Estimated Value: $1,800 Minimum Bid: $500

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Dorothea Tanning

A painter, sculptor, poet and author, Dorothea Tanning was one of the leading American artists until her recent death in 2012; she was most commonly known as the last of the Surrealists. Originally from Galesburg, Illinois, Tanning found herself part of New York City’s Surrealist circle, socializing with the likes of Arshile Gorky, Julien Levy and Max Ernst, her husband of 30 years. Tanning’s early paintings explored her unconscious and produced haunting images that were inspired by childhood nightmares and fantasies. In the mid1950s, her artistic mode shifted and she began creating paintings that were semi-abstract; they were mystical works that often had violent and erotic undertones. Later in life, her attention was primarily devoted to writing, and she published a novel, an autobiography and poems that were published in prominent magazines and journals as well as several books. Tanning created Untitled when asked to create a frontispiece for Clos Camardon, a book of poems by Stephen Yenser. She first said that nothing she could do seemed good enough to accompany the poems. That was, she declared, until she remembered a French leaf, which is prominently illustrated in red. The print is included in Dorothea Tanning: Hail Delirium! A Catalogue Raisonné of the Artist’s Illustrated Books and Prints, 1942-1991, which accompanied a retrospective of her prints, “Dorothea Tanning: Hail Delirium!,” at the New York Public Library. The work of Dorothea Tanning (b. 1910 Galesburg, Illinois–2012 New York) was the subject of the first one-woman exhibition at Julien Levy Gallery in 1944, an exhibition which launched her career as one of the leading Surrealist artists. Her work resides in the collections of most of the world’s major museums, including The Art Institute of Chicago; Galeria Nazionale d’Arte Moderna, Rome; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Philadelphia Museum of Art; and the Tate Collection, London. Although Tanning’s concentration was centered on writing throughout the past decade, her work continues to be the subject of solo exhibitions and included in group shows, such as “In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States” at the Los Angeles County Museum of Art from January to May 2012. www.dorotheatanning.org

Untitled (Frontispiece for Clos Camardon) 1985 Lithograph 143/8 x 93/4 inches (36.5 x 24.7 cm) Edition of 16 Edition 13 of 16 Signed and numbered recto: Dorothea Tanning 13/16 Courtesy of the Estate of Dorothea Tanning Estimated Value: $700 Minimum Bid: $300

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Wayne Thiebaud

Since the early 1960s, Wayne Thiebaud has been one of America’s most celebrated realist painters. He is frequently mislabeled as a Pop artist, but he does not use irony to examine commercial America; rather, he treats his subjects with a sense of playful practically and reverence. Using rich, bright colors and thick, frosting-like paint and brushwork, Thiebaud is best known for his depictions of cakes, everyday objects and freeways. His admiration and focus on the mostloved aspects of American culture, such as hot dog stands, pies, gumball machines and beach scenes, instill a sense of nostalgia in the viewer. Thiebaud’s art, with its creamy textures and joyful colors, is ultimately a celebration of American life. Although he regards himself “in the oil business,” Thiebaud has dedicated significant time throughout his career to making prints; he first produced etchings at Crown Point Press in 1964. Freeway Building is representative of Thiebaud’s large body of work of cityscapes and landscapes. After moving to San Francisco in the early 1970s, Thiebaud began working on these scenic views of the Californian world around him. Although his urban scenes are based on memory and observation, the views are not necessarily exact representations of the landscape, but are bustling and exciting outlooks on modern America. In the late 1990s, Thiebaud devoted much of his time to a series of landscapes in both the painting and print media. During this time, he produced Mountain Cloud at Crown Point Press in San Francisco. This print can be seen as the first print of a mountain series which fully developed in 2011, in which he depicts towering peaks that overwhelm the composition. As in Mountain Cloud, Thiebaud frequently shows a cross section of a mountain highlighting the solid mass and illustrating only a few of the mountain’s surface features.

www.allanstonegallery.com www.paulthiebaudgallery.com www.crownpoint.com

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Wayne Thiebaud (b. 1920 Mesa, Arizona) launched his career at the Alan Stone Gallery in 1962, with a solo exhibition that received wide-spread critical acclaim, with praising reviews in the New York Times, Life magazine and Newsweek. Wayne Thiebaud is represented in the permanent collections of many American major museums such as The Museum of Modern Art in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, New York. A major retrospective of his work, “Wayne Thiebaud: A Painting Retrospective,” was organized by the de Young Fine Arts Museum of San Francisco and traveled to the Modern Art Museum in Fort Worth, Texas, The Philips Collection, Washington, D.C., and the Whitney Museum of American Art, New York. Most recently, from October to November 2012, Acquavella Galleries in New York held “Wayne Thiebaud: A Retrospective.” In 1994, Thiebaud was presented with the National Medal of Arts by President Clinton.

Freeway Building 1998 Drypoint 12 x 12 inches (31.7 x 30.5 cm) Edition of 35 Edition 19 of 35 Published by Crown Point Press Signed, dated and numbered recto: Thiebaud 1998 19/35 Courtesy of Anonymous Estimated Value: $3,000 Minimum Bid: $800

Mountain Cloud 1998 Hard ground etching 12 x 9 inches (30.5 x 24.7 cm) Edition of 25 Edition 6 of 25 Published by Crown Point Press Signed, dated and numbered recto: Thiebaud 1998 6/25 Courtesy of Anonymous Estimated Value: $2,800 Minimum Bid: $800

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Andra Ursuta

Andra Ursuta was born in Romania and lives and works in New York City. Mixing influences of Baltic folklore and tradition with conflicting visions of female identity, she creates powerful, thoughtprovoking works that evoke sources ranging from traditional Western representational conventions to West African masks to the sculptures of her fellow Romanian Constantin Brancusi. Ursuta aggressively adopts ethnic and gender-related stereotypes as tools for political commentary. A formative experience for Ursuta was when, as a member of the gypsy punk band Gogol Bordello, she felt more fully legitimized by society as a fake gypsy than gypsies are in real life. In Severed Tongue, Ursuta nods to traditional landscape drawing with a fatalistic twist. In Romania, fatalism plays a key role; although life during her childhood in Transylvania was rough, the village norm was to participate in ongoing competitions to one-up one another with grotesque stories depicting tragedies from the past. Here, a tongue lies hidden in a lovely landscape. What at first appears to be a peaceful forest is, in fact, a crime scene. This work bears a formal resemblance to her critically acclaimed “Man from the Internet” series recently exhibited at the New Museum, in which Ursuta has drawn a dead Chechen soldier found on the Internet over and over again (and aims to do so 100 times); these images, like Severed Tongue, are so beautifully rendered that they cease to be morbid. Andra Ursuta (b. 1979 Solanta, Romania) received her BA in Visual Arts from Columbia University. Her work is currently the subject of a solo exhibition at the Venus over Manhattan gallery in New York City. She will also be participating in the prestigious Venice Biennale, opening in June 2013. Her work has been seen in solo exhibitions in 2012 at Ramiken Crucible in New York, Art Basel in Miami Beach, Francois Ghebaly Gallery in Los Angeles, and the 2011 at Frieze Art Fair in London. Recent museum group exhibitions include “Ostalgia” at the New Museum, and “Pure Freude” at the nationalmuseum, Berlin. Ursuta has participated in group gallery exhibitions including the 2011 and 2012 Bridgehampton Biennials, “Glee” at Blum & Po in Los Angeles, and the “Fifth White Columns Annual” in 2010. The artist lives and works in New York City. www.ramikencrucible.com

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Severed Tongue 2007 Ink on paper 11 x 14 inches (27.9 x 35.6 cm) Signed and dated verso: Andra Ursuta 2006 Courtesy of Andra Ursuta and Ramiken Crucible NY Estimated Value: $2,500 Minimum Bid: $500

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John Currin

Valley of mist 2

Valley of Mist 2 is the second portfolio in an ongoing biennial series by parents of students at Friends Seminary, New York. Following on from the first edition, which focused on drawn and graphic images, this new portfolio consists of photographic images. The resulting set of 11 x 14 inch archival inkjet prints shows a side to each artist that is rarely exposed.

b. 1962 Boulder, CO Parent of Francis Currin ’22 and Hollis Currin ’23

Each artist is an established figure within the contemporary art context and with each biennial edition they are joined by a guest from outside the school community. The diversity of their work is an echo of the Friends Seminary ethos.

Valley of Mist 2 2012 Portfolio of eight archival inkjet prints on acid free paper in archival portfolio box 11 x 14 inches each (27.9 x 35.6 cm) Edition of 20 with 8 Artist’s Proofs Signed and numbered verso Curated by Liam Gillick and organized by Michelle Reyes Landers for the benefit of the educational programs at Friends Seminary, New York Price: $2,500

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Rachel Feinstein b. 1971 Fort Defiance, AZ Parent of Francis Currin ’22 and Hollis Currin ’23

John Currin is inspired by a broad range of cultural influences that include Renaissance oil paintings, 1950s women’s magazine advertisements, and contemporary politics. While his meticulous and virtuosic technique is indebted to the history of classical painting, the images themselves engage startlingly contemporary ideas about the representation of the human figure. Currin has had various major institutional exhibitions, such as: “John Currin,” the Museum of Contemporary Art, Chicago (2003) (traveled to the Serpentine Gallery, London and the Whitney Museum of American Art, New York, through 2004) and “John Currin: Works on Paper,” the Des Moines Art Center (2003) (traveled to the Aspen Art Museum); In the fall of 2012, he had exhibitions at Sadie Coles HQ in London and at Gagosian Gallery in New York. In 2011, he had an exhibition at the DHC Art Foundation for Contemporary Art in Montreal, Canada, as well as a show at the Frans Hals Museum in Haarlem, Netherlands, where his works were exhibited alongside the Dutch master, Cornelis van Haarlem. Currin’s work is represented in major institutional collections including The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Tate Collection, London; and Centre Georges Pompidou, Paris, and has been the subject of two monographs (2006 and 2011) co-published by Rizzoli and Gagosian. Currin lives and works in New York City. Rachel Feinstein is a sculptor and painter who has exhibited worldwide since 1994. Her work fixates on the hedonistic and decorative manifestations of eighteenth and early-nineteenthcentury European court culture and explores themes of fantasy, ruin, beauty and mortality. Her most recent solo exhibitions took place in 2013 at Gagosian Gallery, Rome, and at Lever House, New York, in 2011 where Feinstein presented Snow Queen, an elaborate installation inspired by Hans Christian Andersen’s fairy tale. Feinstein has had solo exhibitions at Le Consortium, Dijon (2006), Marianne Boesky Gallery (2001, 2005, 2008) and CorviMora in London (2002, 2007). Her work has been exhibited at the Whitney Museum of American Art in New York, The Barbican in London, and the Gallery at the Metropolitan Opera House at Lincoln Center in New York. She designed an elaborate sculptural set for the Marc Jacobs Fall 2012 fashion show. Her work is in the permanent collections of The Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago, and FRAC in Dijon, France. A monograph dedicated to her work was published by tarSIZ and features a comprehensive survey of her sculpture, paintings and drawings from 1998 to 2008. Feinstein lives and works in New York City.

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Liam Gillick b. 1964 Aylesbury, England Parent of Orson Gillick-Morris ’20

Jacqueline Humphries b. 1960 New Orleans, LA Parent of Charles Oursler ’22

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Liam Gillick has had a number of solo international exhibitions including “The Wood Way,” Whitechapel Gallery, London (2002); “A short text on the possibility of creating an economy of equivalence,” Palais de Tokyo, Paris (2005) and the retrospective project “Three Perspectives and a short scenario,” Witte de With, Rotterdam, Kunsthalle Zurich, Kunstverein, München and the Museum of Contemporary Art, Chicago (2008-2010). A major exhibition of his work opened at the Kunst und Ausstellungshalle der Bundesrepublik Deutschland in April 2010. Gillick was selected to represent Germany for the 53rd Venice Biennale in 2009. He was nominated for the Turner Prize in 2002 and the Vincent Award at the Stedelijk Museum in Amsterdam in 2008. Many public commissions and projects include the Home Office building in London (2005) and the Dynamica Building in Guadalajara, Mexico (2009). In 2006 he was a central figure in the free art school project unitednationsplaza in Berlin, which travelled to Mexico City and New York. Public collections include: Government Art Collection, UK; Arts Council, UK; the Tate Collection, London; The Museum of Modern Art, New York; Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Chicago. Gillick lives and works in New York City.

Sean Landers

Jacqueline Humphries makes paintings that establish a site for experience, with surfaces that shift, through the use of her signature metallic silver paint and complex reductive/constructive technique. Humphries has had solo exhibitions at Greene Naftali, New York (2012, 2009); Galerie Forsblom, Helsinki (2011); Stuart Shave/ Modern Art, London (2010, 2007); Andrew Jensen Gallery, New Zealand (2007); Williams College Museum of Art, Williamstown, MA (2006) and NyeHaus, New York (2005). Group exhibitions include Museum of Contemporary Art, Cleveland (2012); “AntiEstablishment,” CCS Bard Hessel Museum of Art, Annandaleon-Hudson (2012); “If You Lived Here, You’d Be Home By Now,” CCS Bard Hessel Museum of Art, Annandale-on-Hudson (2011); “Provisional Painting,” Stuart Shave/Modern Art, London (2011); “The Big New Field,” Dallas Museum of Art, (2010); “Prospect.1 New Orleans,” New Orleans (curated by Dan Cameron) (2008); Humphries’ work is held in numerous public collections including the Boston Museum of Fine Arts, The Museum of Modern Art, New York, The Saatchi Collection, London, the Smithsonian Institution, Washington, D.C., and the Whitney Museum of American Art, New York. Humphries lives and works in New York City.

Sarah Morris

b. 1962 Springfield, MA Parent of Penny Landers ’17

b. 1967 Sevenoaks, England Parent of Orson Gillick-Morris ’20

Sean Landers has been exhibiting his work since the early 1990’s. He often uses personal experiences as subject matter and blurs the lines between fact and fiction, reality and fantasy, sincerity and insincerity. Survey exhibitions of Landers’ work have been presented at the Contemporary Art Museum, St Louis (2010) and Kunsthalle Zurich (2004). His work has been seen in exhibitions at MoMA PS1; Whitney Museum of American Art; Massachusetts Museum of Contemporary Art, North Adams, MA; Contemporary Arts Museum Houston; Serpentine Gallery, London; Saatchi Gallery, London; Kunsthalle Vienna; Kunstverein in Hamburg; Musée d’Art Contemporain de Bordeaux and the Venice Biennale, the Athens Biennale and the Berlin Biennial. Landers’ work is represented in numerous major museum and public collections including the Whitney Museum of American Art, Los Angeles County Museum of Art, Walker Art Center, Denver Art Museum, Seattle Art Museum, and the Tate Modern, London. Monographs on the artist include Sean Landers: 1990–1995, Improbable History (JRP|Ringier 2011) and Sean Landers (Kunsthalle Zurich 2004). Landers lives and works in New York City.

Sarah Morris is an internationally recognized painter and filmmaker, known for her complex abstractions, which play with architecture and the psychology of urban environments. Morris views her paintings as parallel to her films - both trace urban, social and bureaucratic topologies. In both these media, she explores the psychology of the contemporary city and its architecturally encoded politics. Morris assesses what today’s urban structures, bureaucracies, cities and nations might conceal and surveys how a particular moment can be inscribed and embedded into its visual surfaces. Often, these non-narrative fictional analyses result in studies of conspiratorial power, structures of control, and the mapping of global socio-political networks. Morris has exhibited widely, including at Museum für Moderne Kunst, Frankfurt (2009), Museo d’Arte Moderna, Bologna (2009), Fondation Beyeler, Basel (2008), Moderna Museet, Stockholm (2005), and the Hirschhorn Museum and Sculpture Garden, Washington D.C. Morris is currently working on a large site-specific project in Tulsa, Oklahoma at a structure designed by Edward Durell Stone. Work by Morris is in the collection of many museums including the Solomon R. Guggenheim Museum, New York, Centre Georges Pompidou, Paris, The Museum of Modern Art, New York, San Francisco Museum of Modern Art and Neue Nationalgalerie im Hamburger Bahnhof, Berlin. Morris lives and works in New York City.

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Tony Oursler b. 1957 New York, NY Parent of Charles Oursler ’22

special guest

Richard Phillips

b. 1962 Marblehead, MA

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Tony Oursler is primarily known for his innovative combination of video, sculpture and performance. Oursler’s work explores the relationship between the individual and mass media systems with humor, irony and imagination. In 2013 the Tate Modern will present an immersive installation by Oursler titled “The Influence Machine.” Recent solo exhibitions took place at Aarhus Kunstmuseum in Denmark, ArtSonje Center Seoul in South Korea and Padiglione d’Arte Contemporanea, Milan (all 2012). His work has been seen in numerous group exhibitions including the 54th Venice Biennale (2011), the Whitney Biennial (2006, 1997, 1989) and the Site Santa Fe Biennial (2004) His work is represented in a number of major museum collections including The Museum of Modern Art in New York, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden in Washington D.C., the Tate Collection in London, the Saatchi Collection in London and the Centre Georges Pompidou in Paris. Oursler lives and works in New York City.

Richard Phillips uses realistic imagery as his language, yet his work goes beyond pure representation. He purposefully chooses imagery and subject matter that are iconic in their own right, as if to compare what popular culture holds dear to the ways in which art culture operates. Fluidly moving between glossy, gorgeously executed paintings and slick films presenting single moments in time much as paintings do, Phillips has found an exciting crossroads from which to examine how audiences process identity, politics, fame, sexuality and desires. Important survey exhibitions of his work, with accompanying catalogues, have been seen at Le Consortium in Dijon in 2004; Kunsteverein in Hamburg in 2002, and Kunsthalle Zurich in Zurich in 2000. He is represented in important public and private collections such as the Albright-Knox Art Gallery, Buffalo, NY; the Denver Museum; The Modern Art Museum of Fort Worth, TX; The Museum of Modern Art, New York; the Museum of Contemporary Art, Miami; UBS Paine Webber Art Collection, New York; San Francisco Museum of Modern Art; Tate Modern, London; Van Abbemuseum, Eindhoven, The Netherlands; and the Whitney Museum of American Art, New York. Phillips lives and works in New York City.

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