Piotr Uklanski: Collages by nahmadcontemporary

PIOTR UKL ANSKI

PIOTR UKLANSKI

COLLAGES

COLLAGES NAHMAD CONTEMPORARY Uklanski_endpapers_M.indd 1

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PIOTR UKLANSKI

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COLLAGES NAHMAD CONTEMPORARY

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CONTENTS 7

Foreword When Will You Arrive on the Mountaintop? Piotr Uklanskiâ&#x20AC;&#x2122;s TornPaper Collages Alissa Bennett

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Plates

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FOREWORD

t is with great pleasure that Nahmad Contemporary presents Piotr Uklanski: Collages. Mining the fringes of art, culture, and history, Uklanski has developed a conceptually challenging and utterly unique pictorial language that re≠ evaluates modernist paradigms and hierarchies. The torn≠ paper collages featured in this exhibition are self≠ consciously interwoven with politics and the artistí s personal biography to reignite an existing artistic idiom with a newfound criticality that allows for subversion and provocation. The series has been featured in major exhibitions at prestigious institutions such as the Kunsthalle Basel, Zacheta National Gallery of Art, Bass Museum, and Palazzo Grassi. We are proud to mount the first survey of this captivating body of work in the U.S. and extend our appreciation to Alissa Bennett for her perceptive scholarly text presented in the accompanying catalogue. The exhibition would not have been possible without the generosity of the lenders from both the U.S. and Europe, as well as the support of Sam Orlofsky, Larry Gagosian, and Massimo De Carlo. Special thanks are due to the Uklanski studio as well as to the Nahmad Contemporary team: Jane Park, Michelle Molokotos, and Trish Lipscomb, each of whom was essential to bringing the show to life. Finally, we are grateful to Piotr Uklanski for his support and enthusiasm, from the conception of this endeavor to its realization. But, most of all, we thank him for sharing his singular vision with us through his art. Joseph Nahmad New York, September 2015

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WHEN WILL YOU ARRIVE ON T H E M O U N TA I N T O P ? Piotr Uklanski’s Torn-Paper Collages 8

Alissa Bennett

iotr Uklanskiís first torn≠ paper collage was made in the summer of 2000 and served as one of the five formally divergent works included in the artistís landmark solo exhibition at Gavin Brownís Enterprise. On each of the four walls of the gallery, Uklanski hung a single work: the collage, a large≠ scale photographic landscape depicting Mount Vesuvius by night, a wallpaper work showing the artistís nude

body surrounded by women in an ì updatedî version of Philippe Halsman and Salvador DalÌ ís 1951 image In Volupta Mars, and an abstract ì paintingî made of wax≠ crayon shav≠

ings that appeared to float as though magically suspended in the confines of a Plexiglas frame. The fifth work in the exhibition was on the gallery floor; a radically self≠ explanatory sculpture, Untitled (Wet Floor) surpassed the semiotic prank indicated by its title: this conceptual puddle poetically reflected and amplified the low≠ fi beauty of the works on the surrounding walls.

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Installation View of ì The Deepî a t Gavin Browní s Enterprise, 2001, featuring Untitled (Patagonia), 2000.

Entitled The Deep, the exhibition highlighted Uklanskií s wildly diverse practice in a way that surpassed a straightforward proposal of ì new works.î Typical of his broader methodology, The Deep saw Uklanski approach the act of exhibition making as though it were akin to the writing of a manifesto or the development of a rebus that seeks to somehow speak to the uninitiated. As critic Bennett Simpson surmised in his review of the show,

In every instance Uklanski is playing on his imagesí ambiguous function as symbolic currency. He likes to test people. He knows that his works will signify differently across contexts, that their reception as transparent signs is nothing but volatile. Indeed, the audienceí s ability to apprehend or misapprehend transparency is the crux of this work. Uklanskií s cynicism is entirely strategic: the homage to art history is turned into a movie poster.1 If you want to push Simpsoní s conclusion even further, The Deep can be read as an example of Uklanskií s seductive yet critical meditation on various art≠ historical paradigms. By re≠ presenting exclusionary iconography in socially democratic forms, Uklanski sug≠ gested that his work was not specifically self≠ exploratory or mercenary and that art retains the possibility to re≠ determine the confines of what constitutes its ì audience.î More precisely, Uklanski designed The Deep as a deliberate distillation of various ì schoolsî of painting, turning various highbrow tropes into ì movie posters.î These works, respectively, referenced history painting, pop, surrealism, spiritual abstraction, and arte povera while simultaneously contending with modernist paintersí long and conflicted love affair with outsider art and the art of children. As such, Uklanskií s then newly minted torn≠ paper works might be described as a kindergarten collage gone monumental. Untitled (Patagonia), the artistí s first massively

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scaled collage, consists of brightly hued torn≠ paper sheets mounted on board. While the collage appears abstract at first glance, the gradation of colors from dark blue to shades of pink and the jagged edges of the ripped paper form the illusion of a sublime mountain landscape at sunset. A spectacular work that oscillates between an offhanded, child≠ like gesture and a sophisticated new pictorial language, Untitled (Patagonia) marked the starting point for a whole series of collage works that Uklanski has elaborated upon over the past fifteen years. Uklanski is known for his promiscuous use of various materials and artistic ì languages,î but this ongoing series of torn≠ paper collages has rarely been discussed with any critical precision until now.2 This collage series connects both conceptually and materially to Uklanskií s other bodies of workó a whole genre of ì paintings without paint.î

Just like the

works he has made with pencil shavings, ink drops, resin reliefs, dyed fabrics, or ceramic mosaics, these torn≠ paper collages are part of what critic Francesco Bonami has identified as Uklanski's ì ë resuscitative paint≠ ingí practice, which is the opposite of ë action painting.í His canvases are Cover of GDY DO TEJ BABIEJ G” RY PRZYJDZIESZ by Jacek Maria Stroka. Published by The Board of the Provincial Polish Tourist Association, 1986. 10

both targets and garbage bags for all the pictorial vernaculars he resur≠ rects. He has moved from Lucio Fontanaí s Concetti spaziali to his own ë spatial tear sheet.í î 4 While the connection to the post≠ war Italian master is credible due to the literal violence visited upon the picture plane by the physical act of tearing, Uklanskií s collage paradigm perhaps owes more to an obscure inspiration than it does to Fontanaí s iconic slashed canvases. Gdy do Tej Babiej GÚ ry Przyjdzieszó a poetically titled Polish guidebook published in the early 1980s that can be loosely translated as ì When Will You Arrive on the Mountaintop?î ó is one of the prosaic inspirations for Uklanskií s torn≠ paper collages. A consummate collector of source mate≠ rial from both high and low culture, Uklanski was inspired to make this first torn≠ paper collage, Untitled (Patagonia), when sifting through his extensive archive of Communist≠ era book covers. ì I was attracted to this graphic≠ design solution that was both so simplistic in its execution, yet so visually impactful in the illusion it could create. It was Communist Pop Povera,î Uklanski remarked in a recent interview.5 As with other bodies of work, Uklanski demonstrates a poetic aptitude for transforming banal or obscure source material into iconic works of art. Not only did Untitled (Patagonia) set into practice this new artistic vocabulary, it created the pathway to a new pictorial mountaintop without dependence on the tradi≠ tional tools of paintbrush and canvas. Uklanski is not alone in his mining of the so≠ called ì lowerî world of illustration and graphic design as a means to break new artistic ground. Matisse famously embarked upon his series of paper cut≠ outs as the

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Henri Matisse making cut≠ outs at Villa le Reve in Vence, France, c. 1946ñ 47. © La Biennale di Venezia, ASAC, Fototeca ñ photo by Interfoto.

Henri Matisse, The Snail, 1953, gouache on cut≠ and≠ pasted paper, 112 3 /4 x 113 in. (287 x 288 cm.). Tate Modern, London. Artwork: © 2015 Succession H. Matisse / Artists Rights Society (ARS), New York. Photo: Tate, London.

result of a 1936 commission by Cahiers dí Art, in which he was asked to create the cover design of its journal. Considered inferior to Matisseí s earlier work during the artistí s life≠ timeó as curator Nicholas Cullinan recently discussed, the cut≠ outs were initially received as ì an agreeable distractionÖ from the main task of paintingî ó these late cut≠ outs have been clearly re≠ evaluated by history. Once viewed as decorative, they are now considered among Matisseí s most vital contributions to modernism.6 Unknowingly, the production of Uklanskií s torn≠ paper collages shares some technical similarities with Matisseí s process. Like Matisse, Uklanski constructs his works with sheets of white paper that have been painstakingly hand≠ painted with an array of vibrantly pigmented gouaches. Despite this arduous process, each solid≠ color sheet appears as if ready≠ made, like a newly opened package of childrení s construction paper in a dazzling rainbow palette. Yet whereas Matisse would create his compositions by wielding a large pair of fabric shears and tacking the cut≠ paper elements on the studio walls with pins, Uklanski manipulates his paper with bare hands to create the tears and textures that con≠ stitute his picture plains. Both artists play with the paperí s ability to generate the series of ì positives and negatives, reversals and inversesî that eventually give way to a final com≠ position.7 And just as Matisseí s fluid scissor method had a direct impact on the types of imagery he created in the cut≠ outsó flowing, lyrical scenes of dancers and suggestive floraó Uklanskií s physical tears give rise to a variety of energetic forms that are often

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evocative of landscapes visited by disaster. In these jagged lines and violent ruptures, we find threatening bolts of lightning, foreboding whirl≠ pools, menacing clouds, and other disaster phenomena ambiguous in their origins. In this way, Uklanskií s fierce iconography and his half≠ controlled, half≠ chance tearing technique distances the work from Matisseí s self≠ conscious cut≠ out reveries. As such, Uklanskií s historical DNA is much more closely aligned with the Dadaist paradigmó specifi≠ cally with Hans Arpí s series of ì chance collagesî made in the wake of World War I. Just as Arp and his colleagues rejected rationality and predictability as a commentary on the repulsive traumas of war, Uklanski too embraces a certain degree of the accidental in the composition of his torn≠ paper collages. The leitmotif of violence and waró exemplified by Uklanskií s treatment of materials and techniqueó is among the most significant unifying factors of the torn≠ paper collages as a series. This cohesion was particularly evident in the exhibition Zimna Wojna (Polish for ì Cold Warî ), in which

Hans Arp, Untitled (Collage with Squares Arranged According to the Laws of Chance), 1916ñ 17, torn≠ and≠ pasted paper and colored paper on colored paper, 19 1/8 x 13 5/8 in. (48.5 x 34.6 cm.). Artwork: © 2015 Artists Rights Society (ARS), New York / VG Bild≠ Kunst, Bonn. Photo: The Museum of Modern Art/ Licensed by Scala/ Art Resource, NY.

Uklanski exclusively showed collage works. Exhibited at Galleria Massimo De Carlo in Milan in 2004, this show of eight works directly acknowledged the tumultuous geopolitical events of the new millennium, beginning with the trauma of September 11, 2001, and bookended by President George W. Bushí s brazenly unjustified invasions of Afghanistan and Iraq. In Untitled (WTC, Tower 1), 2004, Uklanski translates the unforgettable media images of black smoke billowing from the collapsed Twin Towers into low≠ fi reproductionó fibrous paper black clouds layered thickly upon the painterly panel mirror, in ghostly duplicate, the events of 9/11. The televised spectacle of Bushí s war is distilled into Untitled (Rocketí s Glare over Najaf), 2004ó a deliberate riff on American post≠ war abstraction with a diagonal zip of yellows and oranges on a ground of aquamarine blue. Inspired by a newspaper clip≠ ping from The New York Times, this Najaf work ambiguously celebrates the ì joy of warî as much as it acknowledges its part in the legacy of

Benedetta (Benedetta Cappa Marinetti), Syntheses of Communications (Sintesi delle comunicazioni), 1933ñ 34. Tempera and encaustic on canvas, dimensions variable. Il Palazzo delle Poste di Palermo, Sicily, Poste Italiane © Benedetta Cappa Marinetti, used by permission of Vittoria Marinetti and Luce Marinettií s heirs.

heroic abstraction. A decisive conceptual clue to Uklanskií s intent is imbedded in the artist book that was published on the occasion of Zimna Wojna. Accompanying the anachronistically ì tipped inî illustrations meticu≠ lously pasted into the pages of the book, and as if to mimic the artisanal implication of the works themselves, is a strange mash≠ up text that begins with the words of Filippo Tommaso Marinetti. Lest we think that these torn≠ paper collages are just an exercise in gratuitous aesthetic showmanship, Uklanski starts his text with ì ZANG≠ TUMB≠ TUMBÖ What a joy to hear to smell completely / taratatatata of the machine

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From The New York Times, Thursday, April 3, ÂŠ 2003 Photo credit: Takanori Sekine, Kyodo News, via Associated Press.

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Untitled (WTC, Tower 1), 2004.

Installation View of ì Zimna Wojnaî a t Massimo de Carlo, 2004 featuring Untitled (WTC, Tower 2), 2004 and Untitled (Jessica Lynchí s P.O.V.), 2004.

gun.î As the ringleader of Italian futurism, Marinetti persists today as an ambivalent figure who embodied a desire for earnest artistic experimentation while at the same time inter≠ 14

nalizing the worst aspects of the fascist forces that drove Italy into the First World War. Uklanski purposefully enmeshes Marinetti into his exhibition of torn≠ paper collages as a deliberate acknowledgment of his historical fascination with the purely visual wonder that violence and war command, while simultaneously acknowledging the dubious nature of the futurist project. Perfectly suited to the unsavory political connotations of the moment in which Uklanskií s works were madeó under the reign of Bush and his manufactured, com≠ moditized war on terroró Marinetti is the ideal historical emblem to contextualize a series of artworks that take man≠ made violence and destruction as a point of inspiration. Further≠ more, Uklanskií s exuberant use of color and materials that ì celebrateî (however tongue in cheek) the glories of war and mechanical progress are also historically echoed in the iconography of numerous Italian futurists. The colorful pleasure of Uklanskií s works such as Untitled (WTC, Tower 2) or Untitled (Jessicaí s POV) recalls the triumphant depictions of the technologies of war and industrialization depicted by futurist artists such as Gerardo Dottori, Giacoma Balla, and Benadetta. Zimna Wojna is an artist book, but also a key with which Uklanski identifies one branch of his conceptual family tree. The other major branch of Uklanskií s family tree sprouts from the rich genealogy of artists who have embraced the art of children.8 Childrení s artó which can almost be inter≠ preted as a completely unfettered and fully liberated form of artistic expressionó has frequently been a polemical yet essential source of inspiration for a certain strain of modernism. Paul Klee developed his mature style only after discovering a trove of his own childhood drawings in a backyard shed in 1911. Pablo Picasso regularly allowed children

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Joan MirÛ holding a drawing by his daughter DolorË s, c. 1938. © SuccessiÛ MirÛ / Artists Rights Society (ARS), New York / ADAGP, Paris 2015. 15

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to draw in his sketchbooks as early as 1900óand frequently studied their way of working to later vampirize their methods. Upon bringing a young boy to Picassoí s studio in 1943, BrassaÔ remarked that Picassoí s eyes so intensively observed the boy working that ì the greediness of [Picassoí s] curiosity and his power of concentration are the keys to his genius.î 9 Joan MirÛ , whose lyrical, dreamy oeuvre was greatly shaped by a childlike attrac≠ tion to the imaginary, ì meticulously collected the imaginative and often dramatic childhood drawings of his daughter DolorË sÖ archiving them in portfolio envelopes, carefully sorted and labeled by year.î

Jean Dubuffet formed his theory of Art Brut not only via his intellec≠

tual interest in the work of the art of the insane and the theories of Hans Prinzhorn. As early as 1940, Dubuffet began a formidable collection of childrení s art that ì play[ed] a critical role in the emergence of his mature style in 1944.î

The radical postwar experi≠

mental artists that came to be known as CoBrAó Copenhagen, Brussels, Amsterdamó wrote countless manifestos and treaties extolling the virtues of the art of children starting in the 1940s. Asger Jorn, Constant, and Karel Appel all saw the landmark exhibition at the Stedelijk Museum in 1948 entitled Art and the Childóand subsequently integrated these ideas and aesthetics into their work. ì For Constant, child art was certainly an important resource for iconography and compositional method. Ö Child art was to be admired because it exemplified the revolutionary potential of counter culture.î

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Uklanski has seized upon the revolutionary and aesthetic potential that is encapsulated in the world of the child as a fertile ground that informs various bodies of his own work. For example, his signature crayon≠ pencil≠ shaving meta≠ paintings came from the artistí s chance observation of a father making a simple box with tape and pencil shavings to amuse his child in the waiting room of a doctorí s office. His mother meticulously archived his own prolific output of drawingsó many of which are featured in the artist book Piotr Uklanski: Early Works (2013). With their aesthetic simplicity and economy of means, the torn≠ paper collages perfectly fit within this long, entwined heritage of modern art and the art of children. Like Klee and the CoBrA artists before him, Uklanski fearlessly embraces ì the child within.î Yet ì childishî is still a derogatory term in the sphere of both art history and contempo≠ rary art, one that is regularly used to denigrate artists that share this artistic legacy. And in our current amnesia≠ stricken era, the history that informs Uklanskií s torn≠ paper collages maybe easily be overlookedó thus allowing the ì juvenileî associations of the materials and the worksí deceptively pared≠ down aesthetic to be taken at face value. Yet as art historian Jonathan Fineberg has astutely observed, Perhaps that is precisely why we use ì childishî as a term of denial and rebukeó a taboo for the adultó and find the revelation of the childlike works in the works of modern art so disturbing; they threaten our pact with the world. The influence of child art on modern artists has barely been men≠

tioned as a possibility in the scholarship on modern art and not even the artists have been eager to discuss it. The clichÈ that my child can paint a Hans Hofmann wards off our recognition in the works of modern art of the primal urges of our own childhood, attempting to trivialize the unspeakable revelation of the unconscious mind.13 Not only has Uklanski appropriated the so≠ called ì childishî as a means to tap into the visual languages that rest latent in his unconscious mind, he has also used the supposed ì innocenceî of the childish to ì climb the mountaintopî of content. Using this body of torn≠ paper collages to address some of the most unspeakable, media≠ exploited events of the last two decades, he has transformed televisual spectacle into an artful orgy of shredded paper. In Uklanskií s hands, a rocket over Fallujah (a symbol of the travesty of George W. Bushí s manufactured war in Iraq) becomes a sophisticated masterpiece; the first full≠ scale thermonuclear device, code≠ named Ivy Mike, becomes an iconic, multi≠ hued mushroom cloud made of Lanaquarelle and handmade Japanese paper. Electrical storms, whirlpools, tsunami, floods: even the publicí s thirst for natural≠ disaster reportage are part of Uklanskií s meditation on the leitmotif of violence that has become the banal foundation of our visual world. Uklanski strategically uses the familiarity of the ì childishî as a means of drawing to our attention the pornography of violence that dominates contemporary culture. Reified to the

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point of almost absolute transparency, images of gratuitous destruction and suffering have become so exsanguinated, so completely devoid of meaning, that they are now rendered almost completely abstract. It is perhaps owing to Uklanskií s arrival in the U.S. in his early twentiesó having spent his formative years in heavily censored Communist Polandó that the artist has a heightened sensitivity to the exploitation of violence typified by the American culture industry. There is a direct line to be traced here from The Deep, an exhibition that sought to examine the ways in which iconographies that have been rendered invisible via their familiarity can be immediately revitalized through an act of cultural translation. At what point, Uklanski seems to be asking, do we lose all contact to meaning? And furthermore, how can art function as a compass to direct us back to a moment when seismic violence stirred in us a visceral emotional response? The special≠ ized technique Uklanski employs in the construction of his torn≠ paper collages taps into the innocent freedom of childrení s art, resulting in another disarming yet mordant body of work that aims to destabilize the glacial indifference of the zeitgeist that surrounds us.

Bennett Simpson, ì Piotr Uklanski,î Frieze (issue 59, May 2001) p. TK

See the volume Second Languages: Reading Piotr Uklanski for a full discussion of the analogy between Uklanskií s many different bodies of work and the social construct of being a non≠ native English speaker.

3. 18

Uklanskií s work was featured in the exhibition Unpainted Paintings at Luxembourg Dayan in 2011, from which this term was coined.

Francesco Bonami, ì The Painter Who Never Painted and Gave a Blow Job to Painting,î in Second Languages, ed. Donna Wingate and Marc Joseph Berg (Ostfildern: Hatje Cantz Verlag, 2013), p. 32.

Unpublished interview with Uklanski, August 2015.

Nicholas Cullinan, ì An Agreeable Distraction: The Early Reception of Matisseí s Cut≠ Outs,î Henri Matisse: The Cut≠ Outs (New York: Museum of Modern Art, 2014), pp. 25ñ 29.

Jodi Hauptman, ì Inventing a New Operation,î Henri Matisse: The Cut≠ Outs (New York: Museum of Modern Art, 2014), p. 19.

See the incredible book≠ length study on this subject by Jonathan Fineberg, The Innocent Eye: Childrení s Art and the Modern Artist (Princeton: Princeton University Press, 1997).

Ibid., Fineberg, p. 120.

10. Ibid., Fineberg, p. 138. 11. Ibid., Fineberg, p. 155. 12. Graham Birtwistle, ì Behind the Primitivism of Cobra,î in Cobra (Brussels: Royal Museums of Fine Arts and Lannoo, 2008), p. 150. 13. Ibid., Fineberg, p. 23.

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Installation view of ì The FranÁ ois Pinault Collection, a Post≠ Pop Selectionî exhibition at Palazzo Grassi, 2006, featuring Untitled (Tsunami, Blue), 2006.

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PL ATES

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Untitled (Lig htning Bolt) , 2003 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 103 x 74 inches (261.5 x 187.5 cm)

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Study for Untitled (Dark and Stormy)

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Study for Untitled (Storm Rider)

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Untitled (Dark and Stormy) , 2015 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 91Â˝ x 63Â˝ inches (232.5 x 161.5 cm)

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Untitled (Storm Rider) , 2015 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 91Â˝ x 63Â˝ inches (232.5 x 161.5 cm)

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Untitled (Iv y Mike) , 2010 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 85Â˝ x 120Â˝ inches (217.5 x 306 cm)

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Photograph by TRH Pictures, 1968, as reproduced in Nam: A Photographic History, by Leo J. Daugherty and Gregory Louis Mattson, 2001.

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Untitled (Rocketâ&#x20AC;&#x2122;s Glare, Over Najaf) , 2004 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 42 x 97Â˝ inches (106.5 x 247.5 cm)

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Installation view of ì Where Are We Going? A Selection of Works from the FranÁ ois Pinault Collectionî exhibition at Palazzo Grassi, 2006. Photo credit: Santi Caleca.

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Untitled (Castle Romeo) , 2015 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 82Â˝ x 114Â˝ inches (210 x 290 cm)

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Untitled (The Day After) , 2004 Gouache on Lanaquarelle paper collage, torn and pasted on plywood 60 x 98 inches (152.5 x 249 cm)

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Installation view of Untitled (Tatry Wysokie), 2002, at 980 Madison Avenue, 2015.

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ublished on the occasion of the exhibition at Nahmad Contemporary, New York September 22, 2014 ñ October 28, 2015

Publication © 2015 Nahmad Contemporary, New York Works of art © 2015 Piotr Uklanski, New York / ARS, New York. Photographs of the work © 2015 Tom Powel. Catalogue © 2015 Nahmad Contemporary All rights reserved

PIOTR COLLAGES UKLANSKI When Will You Arrive on the Mountaintop? Piotr Uklanskií s Torn≠ Paper Collages © Alissa Bennett. Designed by Dan Miller Design, New York. Printed and bound by F&W Druck≠ und Mediencenter GmbH, Kienberg, Germany. Untitled (Storm Rider), 2015, page 29, Untitled (Castle Romeo), 2015, pages 44ñ 45, Untitled (Tatry Wysokie), 2002, pages 52ñ 53, courtesy Gagosian Gallery. Page 13: The New York Times. All rights reserved. Used by permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission of this Content without express written permission is prohibited. If the Content is printed in a tangible media, the credit notice shall accompany the first or last page the Content appears in. If the Content is reprinted in digital format, the credit notice and a home page link to the website of The New York Times shall appear in close proximity to the Content (before or after). If the Content appears in a film or video program the credit notice shall appear in ì rolling creditsî a t the beginning or end of the program. Every attempt has been made to locate the copyright holders for the artwork reproduced in this catalogue. We sincerely regret any omissions. ISBN: 978≠ 0≠ 9903731≠ 2≠ 4 Nahmad Contemporary 980 Madison Avenue, New York, NY 10075 t: 646.449.9118 f: 646.449.9469 nahmadcontemporary.com

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