VFA Contemporary: Past / Present / Future

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PAST / PRESENT / FUTURE
VI N C ENT VA LL AR I NO , PRINCI PAL, VINCENT@VALLARINOFINEART. C OM E THAN VA LL AR I NO , HEAD OF C ONTEM P ORARY, ET H AN@ VALLARINOFINEART.COM J ENN I E CAST ILL O , D IRECTOR, JENNIE@ VALLARINOFINEART.COM CAR L ENE AVA L ONE , STUDIO M ANAGER, CARLENE@ VALLARINOFINEART.COM

PAST / PRESENT / FUTURE

We are very pleased to introduce VFA C ontemporary. During the past year we have been dedicated to analyzing and purchasing contemporary artworks that we perceive serve as a link between the past and present, but more importantly, we believe will be significant enough to influence future generations of artists to come.

The importance of historical derivation in art and its presence throughout art’s history seemingly has become diminished in today’s emerging and contemporary scene. I t is vital to recognize the present is purely a result of the past, whereas the future is a result of both past and present. Therefore, when society loses sight of the past, the present merely serves as a cultural moot point that has no distinct future, resulting in stagnation.

Many of today’s young and emerging artists seem to be skipping historically required steps. This can be attributed to being overly influenced by the galleries and market, rather than purely by their own artistic intuition. That said, this is not the fault of the artists themselves, but rather due to the constantly waning standards and expectations of what the current markets dictate as being good, groundbreaking and commercially viable art. Fundamentally, this is changing the paradigm of what it means to be an artist - a dangerous thing to mess with.

You might ask yourself, “What would Monet, Picasso or Duchamp think of 90% of today’s contemporary art?” Would they agree with the forces of influence at play? Keep in mind that Monet and Picasso worked on many of their paintings longer than some artists today have been alive. I f Duchamp were alive today he might state that he was the force behind the concepts of the absurd and the readymade, but would he stand for the level of ridiculousness present in todays culture and artistic output?

VFA C ontemporary has invested in a select group of artists we feel are those who remain historically relevant yet innovative and original in their own right. Our collection seeks to represent those who are consummate craftsmen following an intuitive flow in an uninterrupted manner, all taking the necessary steps that will enable their work to have a place in the future, not just a trend of the present.

5 UNTITLED, 1983 OIL AND PAPER C O LL A G E ON C ANVAS 46 3/4 X 58 1/2 I N C HES SIG NED AND DATED ‘ C ONDO ‘83’ AT L OWER L EFT P ROVENANCE : P R I VATE CO LL E C T I ON , CA LI FORN I A P R I VATE CO LL E C T I ON , N EW Y ORK GEOR G E CONDO A MER IC AN , B. 1957
6 MIKE AND D OU G STARN A MER IC AN , B. 1961 BL U E L ISA, 1987 T ONED S ILVER PR I NT, L EAD , TAPE AND WOOD 97 1/2 X 68 1/4 I N C HES P ROVENANCE : P R I VATE CO LL E C T I ON , F L
A ARON GARBERMAIKOV S KA A MER IC AN , B. 1978 GROVE, 2013 INK ON F L UTED PO LY B OARD MOUNTED ON A L UM I NUM FRAME 70 X 40 1/2 I N C HES PROVENANCE : T HE A RT I ST P R I VATE CO LL E C T I ON , S W I T Z ER L AND 9
10 CHRI S TIAN R O S A BRA ZILI AN , B. 1982 UNTITLED, 2014 OIL ST IC K , O IL PA I NT AND C HAR C OA L ON LI NEN C ANVAS 71 X 82 I N C HES P ROVENANCE : P R I VATE CO LL E C T I ON , C A
12 UNTITLED, 2014 OIL ST IC K , O IL PA I NT, PEN CIL AND C HAR C OA L ON C ANVAS 79 X 94 I N C HES SIG NED AND DATED VERSO P ROVENANCE : T HE S AAT C H I GA LL ERY, LONDON CHRI S TIAN R O S A BRA ZILI AN , B. 1982
15 NU SVARD, 2013 OIL ST IC K AND O IL ON C ANVAS 35 3/8 X 40 1/8 I N C HES SIG NED AND DED IC ATED ON C ANVAS F L AP VERSO P ROVENANCE : I B I D GA LL ERY, LOS A N G E L ES , C A P R I VATE CO LL E C T I ON , N EW Y ORK CHRI S TIAN R O S A BRA ZILI AN , B. 1982
16 MARILYN MINTER A MER IC AN , B. 1948 GOLDIE, 2004 C PR I NT 40 X 26 I N C HES I MA G E , 52 X 37 I N C HES FRAMED SIG NED VERSO P ROVENANCE : GAV L AK GA LL ERY, LOS A N G E L ES , C A (L A B E L VERSO )
19 WHY L ET S ERIO U S PEO P LE D E B ATE, 2014 LA CQ UER ON C ANVAS 68 X 55 1/2 I N C HES SIG NED , T I T L ED AND DATED VERSO P ROVENANCE : P R I VATE CO LL E C T I ON , N EW Y ORK CHRI S SU CC O GERMAN , B. 1979
20 PROTEST #2, 2015 SIL KS C REEN I NK ON M I RROR PO LI SHED STA I N L ESS STEE L 60 X 41 I N C HES SIG NED AND DATED VERSO P ROVENANCE : PA C E GA LL ERY, N EW Y ORK A DA M PENDLETON A MER IC AN , B. 1984
23 UNTITLED (AND WHY IS T HAT), 2014 MIX ED MED I A 70 X 55 I N C HES SIG NED VERSO P ROVENANCE : P R I VATE CO LL E C T I ON , LOS A N G E L ES , C A MAX FRINTRO P GERMAN , B. 1982
MEL B O C HNER A MER IC AN , B. 1940
25 BLAH BLAH BLAH, 2013 M ONOPR I NT W I TH C O LL A G E , EN G RAV I N G AND EM B OSSMENT ON HAND DYED T W I NRO C KER HANDMADE PAPER 11 7/8 X 9 3/4 I N C HES SIG NED AND DATED ‘13 AT L OWER R IG HT P ROVENANCE : BAR B ARA K RAKOW GA LL ERY O PP O S ITE PAGE S ILENCE, 2011 M ONOPR I NT W I TH C O LL A G E , EN G RAV I N G AND EM B OSSMENT ON HAND DYED , HANDMADE T W I NRO C KER PAPER 12 X 9 I N C HES SIG NED AND DATED 2011 AT L OWER R IG HT P ROVENANCE : QU I NT GA LL ERY, LA J O LL A , C A P R I VATE CO LL E C T I ON , LOS A N G E L ES , C A
26 S ANDY IN THE A LLEY, 2015 AC RY LIC ON BI R C H PANE L, B RASS FRAME 60 X 47 I N C HES SIG NED AND DATED VERSO P ROVENANCE : A NAT EBGI GA LL ERY, C A JOE R EIH S EN A MER IC AN , B. 1979
29 S HARED ME M ORY S CENARIO IV, 2014 IND I A I NK AND PEN CIL ON C ANVAS 75 X 41 I N C HES P ROVENANCE : T HE S T ILL H OUSE GROUP, BROOK LYN , NY EXH I B ITION : M USEUM D HONDT -D HAENENS , BE LGI UM , S ERV IC E E NTRAN C E - T HE S T ILL H OUSE GROUP, N OV. 23–M AR C H 15, 2015. A U G U S TU S T HO MPS ON A MER IC AN , B. 1985
30 UNTITLED, 2014 L I DO C A I NE , BL A C K P IG MENT ON C ANVAS 73 X 48 I N C HES P ROVENANCE : B L UM & P OE , N EW Y ORK P R I VATE CO LL E C T I ON , N EW Y ORK R YAN ES TE P A MER IC AN , B. 1980

MATTHEW B RANNON

33 GREEN W ICH V ILLA G E 1965, 2012 AC RY LIC AND ENAME L ON C ANVAS AND LI NEN 48 X 42 I N C HES SIG NED VERSO P ROVENANCE : D AV I D K ORDANSKY GA LL ERY, LOS A N G E L ES , C A P R I VATE CO LL E C T I ON , N EW Y ORK
A MER IC AN , B. 1971
34 UNTITLED, 2011 AC RY LIC G E L, L A CQ UER , V I NY L, C ARD B OARD AND WOOD 49 1/4 X 47 1/4 I N C HES P ROVENANCE : ZA C H F EUER GA LL ERY, N EW Y ORK FLORIAN S C H M IDT GERMAN , B. 1980
36 IS AA C B RE S T A MER IC AN , B. 1987 D ECISIONS D ECISIONS, 2014 PA I NTER ’ S TAPE ON SHEETRO C K I N ART I ST ’ S FRAME 72 5/8 X 48 5/8 I N C HES IN I T I A L ED AND DATED ‘14 IB ” VERSO P ROVENANCE : T HE S T ILL H OUSE GROUP, BROOK LYN , NY VALLARINO F INE A RT, N EW Y ORK
39 T B T , 2013 PA I NTER ’ S TAPE ON SHEETRO C K I N ART I ST ’ S FRAME IN I T I A L ED AND DATED “ IB ‘13” VERSO 40 3/4 X 30 3/4 I N C HES P ROVENANCE : T HE S T ILL H OUSE GROUP, BROOK LYN , NY P R I VATE CO LL E C T I ON , LONDON IS AA C B RE S T A MER IC AN , B. 1987
40 R OSA, 2013 P OSTERS , PA I NT AND A L UM I NUM L EAF ON WOODEN PANE L 60 X 57 I N C HES SIG NED AND T I T L ED VERSO P ROVENANCE : T HE S T ILL H OUSE GROUP, N EW Y ORK B RENDAN L YN C H A MER IC AN , B. 1985

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42 POROSITY (BLACK II ), 2014 AC RY LIC AND B UR L AP 20 X 16 I N C HES SIG NED AND DATED VERSO P ROVENANCE : R O B ERTS & TILTON , C A O PP O S ITE PAGE POROSITY (BR U SHED II ), 2014 AC RY LIC ON B UR L AP 60 X 48 I N C HES SIG NED AND DATED VERSO P ROVENANCE : BRAND N EW GA LL ERY, MIL AN , ITA LY E VAN
E
BIT A MER IC AN , B. 1985
45 SP LASH, 2013 OXI D IZ ED C OPPER ON C ANVAS 24 X 18 I N C HES SIG NED AND T I T L ED VERSO P ROVENANCE : T HE S T ILL H OUSE GROUP, BROOK LYN , NY N I C K D AR MS TAEDTER A MER IC AN , B. 1988
47 BLAH BLAH BLAH, 2014 M ONOPR I NT W I TH C O LL A G E , EN G RAV I N G AND EM B OSSMENT ON HAND DYED T W I NRO C KER HANDMADE PAPER 11 1/2 X 17 I N C HES SIG NED AND DATED ‘14 AT UPPER L EFT P ROVENANCE : GA L ER I E D E BE LL EFEU ILL E , M ONTREA L MEL B O C HNER A MER IC AN , B. 1940
48 UNTITLED, 1982 MIX ED MED I A ON PAPER 22 X 30 I N C HES SIG NED AND DATED /82 AT L OWER L EFT P ROVENANCE : UL R I KE K ANTOR GA LL ERY, LOS A N G E L ES , C A P R I VATE CO LL E C T I ON , LOS A N G E L ES , C A GEOR G E CONDO A MER IC AN , B. 1957
49 UNTITLED, 1982 MIX ED MED I A ON PAPER 19 1/2 X 25 1/2 I N C HES SIG NED AND DATED /82 AT L OWER L EFT P ROVENANCE : UL R I KE K ANTOR GA LL ERY, LOS A N G E L ES , C A P R I VATE CO LL E C T I ON , LOS A N G E L ES , C A
50 6 + 4 (PORTFOLIO OF T EN WORKS), 2005 AQ UAT I NT, SOFT G ROUND AND LI NE ET C H I N G ON PAPER 10 1/2 X 8 I N C HES SIG NED , DATED AND NUM B ERED AT L OWER C ORNER OF EA C H SHEET “W OO L 2005 16/18” W I TH EM B OSSED PU BLI SHER ’ S MARK AT C ORNER “JS.” T H I S PORTFO LI O I S NUM B ER 16 FROM THE ED I T I ON OF 18 PU BLI SHED B Y E D I T I ON J A C O B S AMUE L, S ANTA M ON IC A #5506 6 + 4 (PORTFOLIO OF T EN WORKS), 2005 AQ UAT I NT, SOFT G ROUND AND LI NE ET C H I N G ON PAPER 10 1/2 X 8 I N C HES SIG NED , DATED AND NUM B ERED AT L OWER C ORNER OF EA C H SHEET “W OO L 2005 16/18” W I TH EM B OSSED PU BLI SHER ’ S MARK AT C ORNER “JS.” T H I S PORTFO LI O I S NUM B ER 16 FROM THE ED I T I ON OF 18 PU BLI SHED B Y E D I T I ON J A C O B S AMUE L, S ANTA M ON IC A #5507 CHRI S TO P HER W OOL A MER IC AN , B. 1955
51 6 + 4 (PORTFOLIO OF T EN WORKS), 2005 A Q UAT I NT, SOFT G ROUND AND LI NE ET C H I N G ON PAPER 10 1/2 X 8 I N C HES SIG NED , DATED AND NUM B ERED AT L OWER R IG HT A L ON G W I TH EM B OSSED PU BLI SHER ’ S : “JS.” #5684
53 K EITH H ARIN G A MER IC AN , 1958-1990 UNTITLED, c. 1986 INK AND G OUA C HE ON PAPER , 16 1/2 X 11 1/2 I N C HES SIG NED AT L OWER R IG HT P ROVENANCE : T HE A RT I ST LAWREN C E L I N , AKA D R . WI NK I E , S AN F RAN CI S C O , C A J OHN LANTHROP ( ATTORNEY OF LAWREN C E L I N ), S AN LEANDRO , C A D W IG HT H AMMA C K , S AN LEANDRO , C A
54 BLACK TU LI P , AP RIL 24, 1984 CHAR C OA L ON PAPER I N ART I ST FRAME 50 X 38 I N C HES IN I T I A L ED , DATED AND T I T L ED AT L EFT S I DE P ROVENANCE : B L UM H E L MAN GA LL ERY, N EW Y ORK (L A B E L VERSO ) EXH I B ITE D: M USEUM OF CONTEMPORARY A RT, CH IC A G O , D ONA L D S U LTAN , S EPTEM B ER - N OVEM B ER , 1987 (L A B E L VERSO ) DONALD S ULTAN A MER IC AN , B. 1951
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D YLAN L YN C H A MER IC AN , B. 1987 C RO WB AR C RO WB AR, 2012 CROW B AR CROW B AR , 2012 S TEE L C ROW B ARS , PA I NTED YE LL OW 22 X 58 I N C HES P ROVENAN C E : T HE S T ILL H OUSE GROUP, N EW Y ORK T HE BRANDT F OUNDAT I ON , CONNE C T IC UT P R I VATE CO LL E C T I ON , N EW Y ORK 56
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