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Artwork on view at Palm Desert gallery

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Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

77 1/4 x 77 1/4 x 18 3/4 in.

acrylic and steel

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.

A Whirling Square

acrylic on canvas

ANISH KAPOOR - Untitled - alabaster - 40 5/8 x 48 1/2 x 17 1/2 in.

40 5/8 x 48 1/2 x 17 1/2 in.

IRVING NORMAN - The Human Condition - oil on canvas - 120 x 182 in.

The Human Condition

GARY HUME - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.

87 x 48 1/2 x 1 1/4 in. ea.

gloss paint on aluminum in four panels

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

ANSELM KIEFER - Jericho - Emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.

25 x 17 1/2 x 2.25 in.

Emulsion, acrylic, sand, clay and photographic paper on cardboard

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

Roy Lichtenstein’s style of Pop art was inspired by comic strips, in which he created images through a combination of mechanical reproduction and hand-drawing. He used iconic images and cultural influences to create striking action images, often with captions and onomatopoeic exclamations, much as one would find in comics. This screenprint is from a group of seven Reflections prints and in each, the image is obscured by color and patterns resembling the reflected light as if behind glass. Inspired by trying to photograph a work by Robert Rauschenberg behind glass, Lichtenstein appropriated images from his past and thus brings the appropriation of Pop art full circle.

ROY LICHTENSTEIN

Reflections on Crash

59 1/8 x 75 in.

lithograph, screenprint, relief, and metalized PVC collage

IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.

To Have and Have Not, Charity Gala

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

201 x 48 x 48 in.

HERB ALPERT - Charity - bronze - 150 in.

HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.

201 x 48 x 48 in.

HERB ALPERT - Gratitude - bronze - 206 in.

HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.

212 x 48 x 48 in.

Pat Steir is a celebrated American painter and printmaker, best known for her Waterfall paintings of dripped, splashed, and poured paint. This large work on paper completed in 1985 is characterized by her usual sense of spontaneity and unpredictability, embracing nature as an active force in art. Recalling the explosive power of waves, the work on paper references the art historical tradition of 19th century artists Ando Hiroshige and Gustave Courbet, re-imagining their previous depictions of the irrepressible sea. This drawing was featured in the Museum of Modern Art’s 1985 exhibition, New Works on Paper 3. Steir’s large wave drawings comprise a distinct body of work from the mid 1980s, after which she began to experiment with the poured canvases that became waterfall paintings.

Untitled (After Courbet and Hiroshige)

colored pencil, pencil, gesso and charcoal on paper

IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.

IRVING NORMAN - Funeral of the Gods - oil on canvas - 90 x 110 in.

Funeral of the Gods

ROLAND PETERSEN - Girl with Trees - oil on canvas - 71 x 59 1/2 in.

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.

Figure in a Tub

42 x 30 1/4 x 24 1/4 in.

IRVING NORMAN - Farewell - oil on canvas - 90 x 100 in.

IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.

IRVING NORMAN - Supreme Justice - oil on canvas - 100 x 76 in.

Supreme Justice

IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.

IRVING NORMAN - Air Raid Shelter - oil on canvas - 100 x 64 in.

Air Raid Shelter

IRVING NORMAN - Children #2 - oil on canvas - 72 x 90 in.

IRVING NORMAN - Totems - oil on canvas - 72 x 110 in.

HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.

159 x 40 x 40 in.

HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.

161 x 40 x 40 in.

HERB ALPERT - Warrior - bronze - 156 x 40 x 40 in.

156 x 40 x 40 in.

Untitled (Hologram Suite) by Louise Bourgeois contains eight individual glass holograms initially created by the artist in 1998 and fully realized in 2014. The imagery includes lovers, chairs, a bell jar, and enclosures. These elements reoccur in many of the artist's installations and are related to her interest in physical and emotional isolation and sexuality. The images recorded within these holograms were created from original Bourgeois sculptures. Encoded on glass and activated by light, the images appear only when illuminated at a particular angle, and they come to life with a red glow.

LOUISE BOURGEOIS

dimension variable

suite of 8 glass holograms

Spring, an unusually large-scale oil painting by William Wendt, depicts a huge expanse of blue, almost cloudless California sky over a wide, flat plain of verdant grass. The only other adornments to this landscape are stands of tall, thin trees that, in the forefront, seem to tower over the far distant snow-capped mountaintop. Wendt’s Impressionist style is evident in the detailed brushwork that makes up the sky. Using short dashes of blue upon blue, Wendt builds the varying color from dark at the top to lighter blue as it nears the mountain on the horizon. Looking closely, the sky almost appears to be a mosaic, but from further back, the colors and strokes blend seamlessly to create its soft, pastel look.

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

Mission Cloisters, San Juan Capistrano

22 1/8 x 27 in.

IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.

IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.

The Merger - Carte de Triunfo - stainless steel and aluminum - 46 x 40 x 23 1/2 in.

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

Henry Moore’s “Standing Figure” from 1982, edition 6/9, captures the magnitude of Moore’s characteristic style at an intimate scale. Often drawing inspiration form organic forms such as bones and shells, Moore presented human forms as graceful abstractions – creating non-naturalistic figures that embraced nature all the same. His renowned reclining figures have been compared to rolling landscapes, and his curvilinear works are often informed by the naturally occurring shapes in the wood or stone. This work in bronze is 12 inches tall and an excellent example of Moore’s characteristic blend of figuration and abstraction. Comparable small-scale works have done well at auction in recent years, such as “Maquette for Mother and Child with Apple” from 1956, a 7-inch bronze from an edition of 9 that sold for $591,000 in 2017. Similarly, “Head of a Girl” from 1923, also a 7-inch bronze from an edition of 9, sold in 2011 for $253,620. “Standing Figure” is signed on the base.

Standing Figure

12 x 3 1/2 x 3 1/2 in.

bronze and wood

HARRY BERTOIA - Untitled (Suspended Willow) - steel and steel wire - 71 1/2 x 39 x 39 in.

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

THOMAS DOWNING - Red Fours - acrylic on canvas - 85 1/4 x 87 1/4 in.

85 1/4 x 87 1/4 in.

acrylic on canvas

RODNEY MCMILLIAN - Flag - mixed media - 97 1/2 x 102 in.

RODNEY MCMILLIAN

97 1/2 x 102 in.

This is the Portrait of Hedda Nova, painted by Joseph Kleitsch. The film industry provided plenty of commissions for Kleitsch, as he was contracted with the prominent LA dealer Earl Stendahl as an in-house portraitist at the time. Hedda was born Hedda Puscewski in Soviet Russia, what is now Ukraine. She became a silent film star, though she never transitioned into talking films due to her thick Russian accent. During the height of her acting career, she was still working hard on learning to speak English. She was married to American actor and director Paul Hurst from 1919 to 1953 when, sadly, he committed suicide after being diagnosed with terminal cancer. This portrait depicts Hedda in a lovely black and gold gown with gossamer sleeves. As a silent film actress, trained to emote without words, it is easy to imagine that her expressive eyes and dramatic hand at her chest are telling the viewer a story.

JOSEPH KLEITSCH

Portrait of Hedda Nova

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

68 x 67 3/4 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

68 1/4 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

Untitled (flooring)

35 x 35 x 3 in.

white cement, debris, flooring

EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.

JOSEPH KLEITSCH

40 1/2 x 28 1/4 in.

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.

68 1/8 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.

WILLIAM THEOPHILUS BROWN

Horse with Swimmers at Beach

acrylic on canvas

CHUL-HYUN AHN - Mirror Drawing #11 - plywood, LED lights, mirror - 40 1/2 x 40 1/2 in.

Mirror Drawing #11

40 1/2 x 40 1/2 in.

plywood, LED lights, mirror

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java.
<br>
<br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

Dongson Culture (1

22 1/2 x 12 x 10 in.

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

84 x 108 1/4 in.

acrylic on canvas

PAUL WONNER - Fruit and Kitchen Towels on Two Tables - acrylic and ink on paper - 38 1/4 x 26 3/4 in.

Fruit and Kitchen Towels on Two Tables

38 1/4 x 26 3/4 in.

acrylic and ink on paper

PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in

Phenomena Lucifer Edge

JOHN HENRY - Chief II - machined aluminum, gilded 23.5k rose gold - 39 x 35 x 16 in.

39 x 35 x 16 in.

machined aluminum, gilded 23.5k rose gold

BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in.

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.

Tree Shadowed Road

40 1/8 x 50 1/4 in.

KELTIE FERRIS - Untitled - oil, acrylic, oil pastel and spray paint on canvas - 30 1/4 x 30 1/4 in.

30 1/4 x 30 1/4 in.

oil, acrylic, oil pastel and spray paint on canvas

META GEHRING CRESSEY - Segovia Girl in Fiesta Costume, La Montera - oil on canvas - 24 x 20 in.

META GEHRING CRESSEY

Segovia Girl in Fiesta Costume, La Montera

ARMAN - Evolution - watercolor in polyester - 6 x 6 in.

watercolor in polyester

ROBERT GRAHAM - Sasha - bronze - 58 1/2 x 18 x 18 in.

58 1/2 x 18 x 18 in.

JAE KON PARK - Untitled - oil on canvas - 25 1/4 x 19 1/2 x 1 in.

25 1/4 x 19 1/2 x 1 in.

JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.

PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in.

Phenomena Violet Scent

RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

WILLIAM GLEN CROOKS - Night and Day Café - oil on canvas - 48 x 36 in.

WILLIAM GLEN CROOKS

Night and Day Café

WILLIAM WEGMAN - Alder - Polaroid Polacolor print, mtnd - 26 x 20 3/4 in

Polaroid Polacolor print, mtnd

PABLO PICASSO - Deux Femmes Avec Voyeur (13 JUIN 1968 IV) - etching/engraving - 10 1/2 x 12 1/4 in.

Deux Femmes Avec Voyeur (13 JUIN 1968 IV)

10 1/2 x 12 1/4 in.

etching/engraving

JOAN MIRO - Femme-Oiseau II - soft-ground and aquatint on Rives vellum - 17 1/2 x 21 in.

Femme-Oiseau II

17 1/2 x 21 in.

soft-ground and aquatint on Rives vellum

PABLO PICASSO - Peintre espagnol faisant le portrait d'une femme nue, sous la forme d'un homme barbu à la fraise - etching/engraving - 10 x 12 3/4 in.

Peintre espagnol faisant le portrait d'une femme nue, sous la forme d'un homme barbu à la fraise

10 x 12 3/4 in.

etching/engraving

LAWRENCE SCHILLER - Elliott Gould, Donald Sutherland, Jo Anne Pflug - Vintage Silver Gelatin Photograph - 11 x 14 in.

LAWRENCE SCHILLER

Elliott Gould, Donald Sutherland, Jo Anne Pflug

Vintage Silver Gelatin Photograph

JOAN MIRO - Plate 19, Album 21 - lithograph - 19 1/2 x 25 1/4 in.

Plate 19, Album 21

19 1/2 x 25 1/4 in.

PABLO PICASSO - 156 Series - etching/engraving - 14 x 16 1/2 in.

14 x 16 1/2 in.

etching/engraving

WILLIAM WEGMAN - Open Window - large-format Polacolor print - 26 x 20 3/4 in

large-format Polacolor print

TSENG KWONG CHI - London, England - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

London, England

silver gelatin print

TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

Monument Valley, Arizona

silver gelatin print

PABLO PICASSO - Untitled - etching/engraving - 11 1/2 x 13 3/4 in.

11 1/2 x 13 3/4 in.

etching/engraving

LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.

LAWRENCE SCHILLER

Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963

silver gelatin print

WILLIAM WEGMAN - Fairy Godmother - Polacolor print on paper - 26 x 20 3/4 in.

Fairy Godmother

26 x 20 3/4 in.

Polacolor print on paper

WILLIAM WEGMAN - Marigolds, Petunias, Meimaraners, etc. - photograph on paper - 6 3/4 x 13 in.

Marigolds, Petunias, Meimaraners, etc.

photograph on paper

WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in.

Marigolds, Flying Puppy

photograph on paper

THAI - Rain Drum - bronze - 18 x 24 in.

Cambodia, 18th Cen

KRISJANIS KAKTINS-GORSLINE - Untitled - oil on canvas - 36 1/2 x 33 in.

KRISJANIS KAKTINS-GORSLINE

36 1/2 x 33 in.

EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.

EDWARD STEICHEN

13 x 10 1/4 in.

silver gelatin print

LAWRENCE SCHILLER - Mitchum playing a preacher in "Five Card Stud" - Silver Gelatin Photograph - 16 x 20 in.

LAWRENCE SCHILLER

Mitchum playing a preacher in "Five Card Stud"

Silver Gelatin Photograph

JAE KON PARK - The Mystery Series - ink on paper - 13 3/4 x 12 1/2 in.

The Mystery Series

13 3/4 x 12 1/2 in.

JAE KON PARK - America Series - ink on paper - 13 3/4 x 12 1/2 in.

13 3/4 x 12 1/2 in.

JAE KON PARK - Untitled - ink on paper - 10 3/4 x 9 1/2 in.

10 3/4 x 9 1/2 in.

JAE KON PARK - The Incan Sun - ink on paper - 10 1/2 x 9 1/2 in.

10 1/2 x 9 1/2 in.

JOAN MIRO - L'Aigrette (The Plumed Hat) - original etching on paper - plate size: 4 3/4 x 3 9/16 in.

L'Aigrette (The Plumed Hat)

plate size: 4 3/4 x 3 9/16 in.

original etching on paper

JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.

35 x 33 7/8 in.

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