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Artwork on view at Montecito gallery

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Combining sculptural elements on a canvas work, "Vanity Unfair for Gordon Matta Clark" evokes the experimental nature of the Pop Art movement. Created as a tribute to his close friend, Gordon Matta Clark, the present work is a layered creation, each element having significance and a deeper symbolic meaning.
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<br>Starting as a commercial sign painter, Rosenquist learned the power of large-scale bold images. These large images, vibrant colors, and recognizable imagery would be the mainstay of Rosenquist's artistic output. "Much of the aesthetic of my work comes from doing commercial art," the artist once said. "I painted pieces of bread, Arrow shirts, movie stars. It was very interesting. Before I came to New York I wanted to paint the Sistine Chapel. I thought this is where the school of mural painting exists."
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<br>Rosenquist's works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among many others.

JAMES ROSENQUIST

Vanity Unfair for Gordon Matta Clark

62 3/4 x 43 x 2 3/4 in.

PABLO PICASSO - Deux Femmes avec un Vase a Fleurs - linocut printed in color on Arches vellum paper with Arches watermark and linocut printed cream over - State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.; and 25 1/2 x 30 1/2 in.

Deux Femmes avec un Vase a Fleurs

State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.; and 25 1/2 x 30 1/2 in.

linocut printed in color on Arches vellum paper with Arches watermark and linocut printed cream over

Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

oil on linen canvas

Takashi Murakami is one of the most celebrated contemporary and Japanese artists. Murakami developed the theoretical and visual language of “Superflat”. He based his art movement on the Japanese “flat” art aesthetic and of anime and manga fused with commentary on the Kawaii tendency in postmodern Japan.
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<br>Murakami and his art have chartered new ground in infiltrating and merging high and low culture. The painting features a proliferation of eyes in his trademark style. No two eyes are exactly alike, and each are in various states of opening or closing. Like his art, these eyes have hidden depth – the irises contain a multitude of miniature concentric circles. The painting seems to combine elements of pop culture, cartoons, technology, and fashion into a singular plane.

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

Rodney McMillian is multidisciplinary artist working in sculpture, painting, performance, and video. Born in South Carolina, McMillian has lived in Southern California since 2000 where he is now Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles. "Lollipop" (2001-2002) represents one of the earliest works from the artist, who graduated with an MFA from CalArts in 2002.
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<br>McMillian shapes his work around the socio-political history of the United States even through abstraction. At first glance, "Lollipop" appears to be a continuation of Abstract Expressionism in its layered flow of paint. For these works, like abstract expressionists of yore, McMillian pours and drips paints. Nevertheless, on closer inspection, many of his works appear to suggest a map or landscape and thus, the history of struggle and power inherent to mapmaking and landscape painting. Who makes maps and for whom? Who owns the land and at what cost? What happens in that land? Furthermore, in using household paint and other industrial materials, McMillian mines issues of economy, accessibility, and even temporality as the materials are inherently unstable and non-archival.
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<br>McMillian's work is collected by the Museum of Modern Art in New York, the Art Institute of Chicago, the Hammer Museum, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles among others, and his work was featured in the 2008 Whitney Biennial. In 2019, McMillian's work was exhibited at the San Francisco Museum of Modern Art: “New York: Rodney McMillian”, Feb. 9-Jun. 9, 2019.

RODNEY MCMILLIAN

latex on canvas

Born in 1944, Thomas Nozkowski created small, richly hued paintings that reflect the dichotomous influences of the Abstract Expressionists and Bauhaus refugees with whom he studied at the Cooper Union. Using a small brush, his handling includes scraping and rubbing off paint in ways that register in the finished work. He developed a distinctive, wide-ranging vocabulary deploying biomorphic-like geometric forms in varied color schemes and a wide range of associations: tile flooring, to cell clusters, to architecture and outer space. Often, they are distilled from his own memories and experiences. Nozkowski commented on this specific painting (Untitled, 1994) saying that it reflects his fascination with the mythological scenes painted upon Renaissance cassone dowery chest panels. He pronounced it the best one of three or four 15” x 30” panels of this series. Nozkowski was handled for many years by Pace Gallery. He died in 2019.

THOMAS NOZKOWSKI

oil on linen on panel

PABLO PICASSO - Original Copper Plate and Engraving from Carmen - copper plate and engraving - 14 1/4 x 11 in.

Original Copper Plate and Engraving from Carmen

14 1/4 x 11 in.

copper plate and engraving

ROBERT RAUSCHENBERG - Prime Pump from ROCI USA (Wax Fire Works Series) - color screenprint on paper and Lexan - 63 1/2 X 44 1/4 IN.

ROBERT RAUSCHENBERG

Prime Pump from ROCI USA (Wax Fire Works Series)

63 1/2 X 44 1/4 IN.

color screenprint on paper and Lexan

FELIPE CASTANEDA - Mujer Hincada - black onyx - 15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA

15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA

18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA - Pensando - marble - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

11 1/2 x 7 x 7 in.

FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4 x 10 1/4 in.

FELIPE CASTANEDA

20 7/8 x 13 1/4 x 10 1/4 in.

white carrera marble

ROBERT NATKIN - Bern Series (#421) - acrylic on canvas - 34 x 46 in.

Bern Series (#421)

acrylic on canvas

FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.

FELIPE CASTANEDA

Mujer en Reposo

14 x 9 x 15 3/4 in.

FELIPE CASTANEDA - Mujer Peinandose - bronze - 16 1/4 x 11 3/4 x 11 in.

FELIPE CASTANEDA

Mujer Peinandose

16 1/4 x 11 3/4 x 11 in.

NORMAN BLUHM - Untitled - oil on paper mounted on board - 20 1/8 x 22 in.

20 1/8 x 22 in.

oil on paper mounted on board

ARISTIDES DEMETRIOS - The Maestro: Le Conducteur - steel - 13 1/2 x 13 x 8 in.

ARISTIDES DEMETRIOS

The Maestro: Le Conducteur

13 1/2 x 13 x 8 in.

ARISTIDES DEMETRIOS - Duet - metal - 9 1/2 x 8 1/2 x 7 in.

ARISTIDES DEMETRIOS

9 1/2 x 8 1/2 x 7 in.

ANN DIENER - Cathedral #1 - graphite, prismacolor, gouache and cut paper - 59 1/4 x 40 1/2 in.

59 1/4 x 40 1/2 in.

graphite, prismacolor, gouache and cut paper

ANN DIENER - Small Expanse #3 - graphite, colored pencil, gouache, ink, and cut paper on paper - 22 1/2 x 30 in.

Small Expanse #3

22 1/2 x 30 in.

graphite, colored pencil, gouache, ink, and cut paper on paper

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