Palm Desert | Heather James

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Our gallery in Palm Desert is centrally located in the Palm Springs area of California, adjacent to the popular shopping and dining area of El Paseo. Our clientele appreciates our selection of Post War, Modern, and Contemporary art. The gorgeous weather during the winter months draws visitors from all over the world to see our beautiful desert, and stop by our gallery. The mountainous desert landscape outside provides the perfect scenic backdrop to the visual feast that awaits inside.

45188 Portola Avenue
Palm Desert, CA 92260
(760) 346-8926

Hours:
Currently open by appointment only

Exhibitions

Our Most Viewed Art for the Month

CURRENT

Our Most Viewed Art for the Month

September 14 - October 16, 2021

Subtle Opulence

CURRENT

Subtle Opulence

September 8, 2021 - March 31, 2022

Sculpture for the Senses: Outdoor Sculpture

CURRENT

Sculpture for the Senses: Outdoor Sculpture

August 4 - December 31, 2021

California Here We Come: The California Impressionists

CURRENT

California Here We Come: The California Impressionists

July 12, 2021 - January 31, 2022

Kahlo x Rivera

CURRENT

Kahlo x Rivera

June 21 - September 30, 2021

James Rosenquist: Potent Pop

CURRENT

James Rosenquist: Potent Pop

June 7 - November 30, 2021

Everyone Needs a Fantasy: Pop Art in America

CURRENT

Everyone Needs a Fantasy: Pop Art in America

June 7 - November 30, 2021

It Was Acceptable in the 80s

CURRENT

It Was Acceptable in the 80s

April 27 - October 31, 2021

Mercedes Matter: A Miraculous Quality

CURRENT

Mercedes Matter: A Miraculous Quality

March 22 - September 30, 2021

Moore! Moore! Moore! Henry Moore and Sculpture

CURRENT

Moore! Moore! Moore! Henry Moore and Sculpture

March 3 - September 30, 2021

Following Surrealism: Conceived with Fire

CURRENT

Following Surrealism: Conceived with Fire

March 2 - December 31, 2021

American Eye: Selections from the Pardee Collection

CURRENT

American Eye: Selections from the Pardee Collection

February 28 - September 30, 2021

Andy Warhol Polaroids: Me, Myself, & I

CURRENT

Andy Warhol Polaroids: Me, Myself, & I

December 10, 2020 - December 31, 2021

Andy Warhol Polaroids: Ars Longa

CURRENT

Andy Warhol Polaroids: Ars Longa

December 10, 2020 - December 31, 2021

Andy Warhol Polaroids: All That Glitters

CURRENT

Andy Warhol Polaroids: All That Glitters

December 10, 2020 - December 31, 2021

Andy Warhol Polaroids: Bring It to the Runway

CURRENT

Andy Warhol Polaroids: Bring It to the Runway

December 10, 2020 - December 31, 2021

Maurice Golubov

CURRENT

Maurice Golubov

October 1, 2020 - September 30, 2021

Pattern and Decoration: Feminism and Friendship

CURRENT

Pattern and Decoration: Feminism and Friendship

September 14, 2020 - September 30, 2021

Carlos Luna: Recent Works

CURRENT

Carlos Luna: Recent Works

August 11, 2020 - September 30, 2021

Max Pellegrini: Silence and Fantasy

CURRENT

Max Pellegrini: Silence and Fantasy

July 30, 2020 - September 30, 2021

The Rest So Beautiful: Contemporary Art and China

CURRENT

The Rest So Beautiful: Contemporary Art and China

May 12, 2020 - September 30, 2021

Black Abstraction: Felandus Thames, Rodney McMillian, Sam Gilliam, and Theaster Gates

CURRENT

Black Abstraction: Felandus Thames, Rodney McMillian, Sam Gilliam, and Theaster Gates

May 2020 - September 2021

Jewish Modernism Part 2: Figuration from Chagall to Norman

CURRENT

Jewish Modernism Part 2: Figuration from Chagall to Norman

April 30, 2020 - September 30, 2021

An Invisible State: Asian American Artists and Abstraction

CURRENT

An Invisible State: Asian American Artists and Abstraction

April 23, 2020 - September 30, 2021

Still Life, Still

CURRENT

Still Life, Still

April 10, 2020 - September 30, 2021

The Cool School

CURRENT

The Cool School

March 30, 2020 - September 30, 2021

Norman Zammitt: The Progression of Color

CURRENT

Norman Zammitt: The Progression of Color

March 19, 2020 - September 30, 2021

The Gloria Luria Collection

CURRENT

The Gloria Luria Collection

March 16, 2020 - September 30, 2021

Jae Kon Park: Life and Root

CURRENT

Jae Kon Park: Life and Root

March 12, 2020 - September 30, 2021

Paul Jenkins: Coloring the Phenomenal

CURRENT

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - September 30, 2021

Irving Norman: Dark Matter

CURRENT

Irving Norman: Dark Matter

November 27, 2019 - September 30, 2021

Vincent van Gogh and The Great Impressionists of the Grand Boulevard

ARCHIVE

Vincent van Gogh and The Great Impressionists of the Grand Boulevard

March 2 - August 10, 2021

Modern Prints

ARCHIVE

Modern Prints

December 26, 2020 - June 19, 2021

Pop Figures: Mel Ramos and Tom Wesselmann

ARCHIVE

Pop Figures: Mel Ramos and Tom Wesselmann

March 26, 2020 - April 30, 2021

The Radical Line

ARCHIVE

The Radical Line

April 11, 2020 - January 31, 2021

Herb Alpert: Recent Works

ARCHIVE

Herb Alpert: Recent Works

September 28 - December 13, 2020

Jewels of Impressionism and Modern Art

ARCHIVE

Jewels of Impressionism and Modern Art

February 19 - October 31, 2020

Cool Britannia: The Young British Artists

ARCHIVE

Cool Britannia: The Young British Artists

April 2 - September 30, 2020

Weekly Opportunities

ARCHIVE

Weekly Opportunities

June 26 - August 31, 2020

Theophilus Brown and Paul Wonner: Seen Through Different Lenses

ARCHIVE

Theophilus Brown and Paul Wonner: Seen Through Different Lenses

November 1, 2019 - July 31, 2020

Hassel Smith: The Measured Paintings

ARCHIVE

Hassel Smith: The Measured Paintings

February 12 - April 20, 2020

Mesa Modern

ARCHIVE

Mesa Modern

February 13 - February 29, 2020

The Californians

ARCHIVE

The Californians

November 1, 2019 - February 14, 2020

Opulent Minimalism

ARCHIVE

Opulent Minimalism

December 3, 2019 - January 31, 2020

Paul Jenkins and Robert Natkin

ARCHIVE

Paul Jenkins and Robert Natkin

November 1 - December 27, 2019

Morris Louis - The Early Paintings

ARCHIVE

Morris Louis - The Early Paintings

October 11 - November 30, 2019

On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger

ARCHIVE

On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger

September 5 - November 2, 2019

Anselm Kiefer

ARCHIVE

Anselm Kiefer

August 15 - September 30, 2019

The Estate of Paul Wonner and William Theophilus Brown

ARCHIVE

The Estate of Paul Wonner and William Theophilus Brown

July 21 - August 31, 2019

Threads of Curiosity: Selections from a Prominent Midwest Collection

ARCHIVE

Threads of Curiosity: Selections from a Prominent Midwest Collection

July 22 - August 31, 2019

Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian

ARCHIVE

Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian

July 25 - August 31, 2019

Paul Jenkins: Phenomenal

ARCHIVE

Paul Jenkins: Phenomenal

July 1 - August 31, 2019

Peter Shelton: A Thing You Bump Into

ARCHIVE

Peter Shelton: A Thing You Bump Into

July 16 - August 31, 2019

Alexander Calder: Cosmic Abstraction

ARCHIVE

Alexander Calder: Cosmic Abstraction

June 21 - August 30, 2019

Julian Schnabel

ARCHIVE

Julian Schnabel

June 4 - July 31, 2019

Hassel Smith

ARCHIVE

Hassel Smith

May 6 - June 30, 2019

Luc Bernard: Unconventional Borders

ARCHIVE

Luc Bernard: Unconventional Borders

May 3 - May 31, 2019

Sam Francis: From Dusk to Dawn

ARCHIVE

Sam Francis: From Dusk to Dawn

November 15, 2018 - April 29, 2019

Architectural Landscapes

ARCHIVE

Architectural Landscapes

December 1, 2018 - January 31, 2019

Sublime Abstraction

ARCHIVE

Sublime Abstraction

November 25, 2017 - May 31, 2018

Gregory Sumida: Americana

ARCHIVE

Gregory Sumida: Americana

April 5 - May 31, 2018

N.C. Wyeth: Paintings and Illustrations

ARCHIVE

N.C. Wyeth: Paintings and Illustrations

February 1 - May 31, 2018

Herb Alpert: A Visual Melody

ARCHIVE

Herb Alpert: A Visual Melody

February 17 - May 31, 2018

The Paintings of Sir Winston Churchill

ARCHIVE

The Paintings of Sir Winston Churchill

March 21 - May 30, 2018

Wojciech Fangor

ARCHIVE

Wojciech Fangor

November 25, 2017 - March 17, 2018

Edward S. Curtis

ARCHIVE

Edward S. Curtis

February 3 - March 17, 2018

Ferrari and Futurists: An Italian Look at Speed

ARCHIVE

Ferrari and Futurists: An Italian Look at Speed

November 21, 2016 - January 30, 2017

Alexander Calder

ARCHIVE

Alexander Calder

November 21, 2015 - May 28, 2016

Max Pellegrini: A Retrospective Exhibition

ARCHIVE

Max Pellegrini: A Retrospective Exhibition

November 27, 2015 - March 27, 2016

Masters of California Impressionism

ARCHIVE

Masters of California Impressionism

November 22, 2014 - May 23, 2015

Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s

ARCHIVE

Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s

November 23, 2012 - January 31, 2013

Painterly Abstraction: Spheres of AbEx

ARCHIVE

Painterly Abstraction: Spheres of AbEx

November 25, 2011 - May 31, 2012

Washi Tales: Works by Kyoko Ibe

ARCHIVE

Washi Tales: Works by Kyoko Ibe

December 11, 2011 - January 28, 2012

Masters of Impressionism and Modern Art

ARCHIVE

Masters of Impressionism and Modern Art

November 20, 2010 - September 25, 2011

Picasso

ARCHIVE

Picasso

November 20, 2009 - May 25, 2010

ARTWORK ON VIEW

AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

AD REINHARDT

AGNES MARTIN - Untitled #11 - acrylic and graphite on canvas - 60 x 60 in.

AGNES MARTIN

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
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<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906.
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<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK FRIESEKE

VINCENT VAN GOGH - Uitzicht over Den Haag met de Nieuwe Kerk - watercolor, gouache, and pen and brown ink on
paper - 9 7/8 x 14 1/16 in.

VINCENT VAN GOGH

"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
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<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.

HENRY MOORE

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.

ROBERT RAUSCHENBERG

ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.

ADOLPH GOTTLIEB

KENNETH NOLAND - Passage - acrylic on canvas - 69 1/2 x 140 1/2 in.

KENNETH NOLAND

The Japanese Nio, or “benevolent kings,” are figures that were placed outside Buddhist temples, on each side of the entrance, to ward off evil spirits, demons, and thieves from the late Muromachi to early Edo periods — or roughly 1467 to 1652.
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<br>The Nio are Indian in origin — manifestations of Vajrapani Bodhisattvas. By some accounts, they protected the Buddha when he traveled throughout India.
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<br>These figures are approximately 500 years old, according to carbon-14 dating conducted on the objects. They were once installed in a famous home that was photographed for the cover of a Frank Lloyd Wright book.
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<br>Each figure is named after a cosmic sound. The closed-mouth figure is Ungyo, who utters “un” or “om,” meaning death. He is also called Nareen Kongo and is said to be a form of the Indian god Vishnu. With his tightly closed mouth and tensed both arms, he represents latent might. The open-mouthed partner is Misshaku Kongo (Agyo), who sounds “ah,” meaning birth. He is equated to the Indian deity Vajrapani, whose name means “thunderbolt holder.” He bares his teeth, raises his fist, and holds a Kongosho, which is a symbol of the power he represents.
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<br>The Nio are constructed in the traditional multi-block design. Old works were conventionally repaired bit by bit, over time, as individual blocks shrank at different rates or were damaged by insects. Damaged blocks were removed, like pieces of a jigsaw puzzle, and replaced with exact copies of the piece. It is common to find figures with repairs spanning many years, as is the case with these particular pieces. This pair was originally lacquered. Though none of the lacquer survives, there is evidence of the gesso-like layer on the surface of each figure.
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<br>It is interesting to note that this pair — each figure standing 71 inches tall — is a close copy of the Nio guarding the south gate of the Todaiji in Japan. However, the Todaiji pair, completed in 1203, stands 26 feet tall.
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<br>In both examples, the classic, fierce and threatening expressions punctuate their purpose as protectors of the Buddhist temple.

JAPANESE

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre.
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<br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

HENRY MOORE

JAMES ROSENQUIST - Samba School - oil on canvas over panel - 78 x 132 in.

JAMES ROSENQUIST

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion.
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<br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510. The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s. Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst. There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

IRVING NORMAN

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

FRANK STELLA

FRANK STELLA - Untitled - three dimensional mixed media on board, mounted on wood - 43 x 128 x 12 in.

FRANK STELLA

Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.

JIM DINE

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum.
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<br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst 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.”
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<br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

DAMIEN HIRST

Born on July 29, 1950, in Gallipolis, OH, Holzer received her BFA from Ohio University in 1972 and her MFA from the Rhode Island School of Design in 1975. The artist fully embraces sculpture and mixed media works, seamlessly shifting from her monumental "word displays" to more intimate works such as "Survival: Hide under water…" (1989).
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<br>Holzer's use of the red granite medium reframes the conversation about works of art in stone, a medium traditionally associated with antiquity and classical sculpture. The inclusion of typography and wordplay in this medium recalls a theme in Holzer's oeuvre, such as her renowned "Truisms" series, and expands the potential of language in art. Holzer is included in countless museum collections worldwide, including the Museum of Modern Art, New York, where her "Granite Bench" (1986) is featured prominently in their sculpture garden.

JENNY HOLZER

JOSEPH STELLA - Reclining Nude - oil on canvas - 50 x 52 1/2 in.

JOSEPH STELLA

Gottlieb was a first-generation member of the Abstract Expressionists. “Blue on Black” is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings.
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<br>This painting showcases the lyricism that he found within the “Burst” paintings by simplifying color and form. In this painting, the shapes and color coalesce to produce harmony and depth within the visual landscape of the canvas.
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<br>Gottlieb had an amazing 56 solo exhibitions during his long career and his works are included in over 140 museums throughout the world.

ADOLPH GOTTLIEB

Pablo Picasso was a prolific draftsman, and his drawings today are ensconced in the canon of Modern art. "Les Dejeuners" (1961) is one of a series of works inspired by Edouard Manet's "Le Déjeuner sur l'herbe" (1863). The work showcases Picasso's remarkable ability to capture the essence of a composition with the minimal use of line.
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<br>Over his several decades-long career, Picasso embraced the concept of paying homage to the great masters of Art History that preceded him. Manet and Rembrandt would emerge as two of his favorite idols. Countless paintings, drawings, and prints were completed using themes from these two artists. The reclining nude female figure in the foreground of "Les Dejeuners" is perhaps a nod to the 1863 painting by Manet, a risqué subject for its 19th-century audience.

PABLO PICASSO

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

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.
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<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

CHILDE HASSAM

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

Figurative painting in Post-War American art was a counterpoint to the prevalent trend of Abstract Expressionism. Artists like George Tooker added elements of Freudian psychology and psychological suspense in their visions of contemporary life. "Woman and Child" (2000) depicts one of the artist's favored subjects, the theatre loggia. The visual motif of a mother and child is analogous to the Madonna and Child, a prominent theme among Renaissance painters, and Tooker's egg-tempera medium evokes the formal aspects of Renaissance painting.
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<br>Early studies at the Art Students League in New York served as the foundation for Tooker's mastery of the painting medium. His work is included in important museum collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art, New York.

GEORGE TOOKER

Figurative painting in Post-War American art was a counterpoint to the prevalent trend of Abstract Expressionism. Artists such as George Tooker added elements of Freudian psychology and psychological suspense in their visions of contemporary life. The artist's signature egg-tempera medium used in "Moon Rise" evokes the formal aspects of Renaissance painting.
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<br>Early studies at the Art Students League in New York served as the foundation for Tooker's mastery of the painting medium. His work is included in important museum collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art, New York.

GEORGE TOOKER

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

ANSELM KIEFER

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

HERB ALPERT

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

HERB ALPERT

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

MEL RAMOS

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

ED RUSCHA

Manuel Neri was a central figure in the Bay Area Figurative Movement in the 1960s. Instead of abstract forms, the group emphasized emotion through the power of the human form. The present work, "Untitled" (1982), explores the female form on a life-sized scale. Neri preferred to work with just one model throughout his 60-year career, Maria Julia Klimenko. The absence of a face in many of the sculptures adds an element of mystery and ambiguity. The focus of the composition in "Untitled" is the structure and form of the figure. Manuel Neri is represented in numerous museum collections worldwide, including the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Crocker Art Museum, Sacramento, CA; Denver Art Museum, the El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, New York and the National Gallery of Art, Washington, DC.

MANUEL NERI

DAVID NOVROS - BARRANCA I - acrylic on canvas - 99 1/4 x 117 1/2 in.

DAVID NOVROS

$Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.$

GEORGE CONDO

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

HERB ALPERT

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

HERB ALPERT

"Purple Tree" from 1936 shows the genesis of the artist's evolution into total abstraction. One of a series of Casein works on panel completed in 1936, the present work is fully documented and recorded in the Hans Hofmann Catalogue Raisonné. "Purple Tree" shows Hoffmann's "push/pull" color theory, where he placed warm and cool colors side by side. Hofmann was an influential instructor for Helen Frankenthaler, Joan Mitchell, Frank Stella, Lee Krasner, and Louise Nevelson (among many others).
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<br>The 2019 exhibition "Hans Hofmann: The Nature of Abstraction" at the University Museum in Berkeley, California, featured 70 works and showed the evolution of Hofmann throughout his career.

HANS HOFMANN

PABLO PICASSO - Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir - etching on Montval laid paper - 15 1/4 x 19 5/8 in.

PABLO PICASSO

Chicago native Robert Natkin was a leading abstract painter in the 20th century. Influenced by the colors and forms of Willem de Kooning, Pierre Bonnard, and Paul Klee, Natkin developed his own style of rich color and texture. This large-scale, jewel-toned canvas is a wonderful and rare early painting from a crucial period in American art, the 1950s.
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<br>Associated with Abstract expressionism, Color field painting, and Lyrical Abstraction, Natkin's work threads throughout many major American art movements and cities. He received a retrospective exhibition in 1969 at the San Francisco Museum of Art (now SFMOMA), and completed a mural in New York at 1211 Avenue of the Americas, a corner of the Rockefeller Center, in 1992. Natkin is represented in over 24 museum collections worldwide, including the Art Institute of Chicago, the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum in New York, and the Centre Pompidou in Paris.

ROBERT NATKIN

Jennifer Steinkamp is at the forefront of the video art and conceptual art movements. "Judy Crook" (2013) is a monumental video installation work that depicts a tree's various seasons and forms. The enhanced images are larger than life, yet they do not dominate the space completely; you as the viewer are a welcome part of the installation. Steinkamp was recently included in the California Video exhibition at the Getty Museum in Los Angeles, and is poised to continue her groundbreaking studio work for decades to come.

JENNIFER STEINKAMP

Elliot Hundley earned his MFA at the University of California, Los Angeles in 2005. His intricate collages are often meant to represent imaginary "operas" and invented narratives. Hundley will use his close friends and family as models; this makes the work more immediate for the artist.
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<br>"Untitled" is a large-scale collage that invokes a sense of whimsical fantasy. These collage works are not cluttered, but instead are filled with dense symbology and narrative that has deep personal meaning for the artist.
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<br>Hundley is included in many museum collections worldwide including the Museum of Modern Art in New York, the Guggenheim Museum in New York, and the Los Angeles County Museum of Art in Los Angeles.

ELLIOTT HUNDLEY

RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.

RICHARD ANUSZKIEWICZ

Harry Bertoia’s Willow sculpture resonates as an expression of grace and delicacy; qualities that bely the usual associations we have with the intrinsic properties of the alloy of which it is made. This suspended version – the rare version of Willow - seems to have a self-aware presence; one that delights in that contrast of properties. Yet it invites nothing more than existential pleasure in the viewing of it. Think of Willow as a boldly articulated version of Calder if the latter master had a more organic or corporeal evocation in mind. Suspended, it commands its area yet respects its spatial relationship to its surround. Light, form, space – these are conceptual tools of the sculptor. But who else would think to use reflective material more readily associated with inflexibility and tensor strength to create a bouquet of cascading strands of stainless steel, suspended in space, flora-like and so gracefully beautiful?

HARRY BERTOIA

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
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<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINESE

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

CHUCK CLOSE - Self Portrait - suite of 4 glass holograms - 14 x 11 in. ea.

CHUCK CLOSE

HELMUT NEWTON - Rue Aubriot, Paris 1975 - vintage gelatin silver print - 13 1/4 x 8 7/8 in.

HELMUT NEWTON

ANDY WARHOL - Jean-Michel Basquiat Six Polaroids - Polaroid, Polacolor - 4 1/4 x 3 1/2 in. ea.

ANDY WARHOL

RICO LEBRUN - Tip-toe Figure - bronze - 43 3/4 x 14 1/8 x 11 7/8 in.

RICO LEBRUN

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

ARNE HIERSOUX - Mem Sahib - acrylic and paper on canvas - 70 1/2 x 120 1/2 in.

ARNE HIERSOUX

HELMUT NEWTON - Woman into Man, Hotel George V, for French Vogue, 1979 - gelatin silver print - 18 1/2 x 12 in.

HELMUT NEWTON

PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

PETER SHELTON

Robert Natkin was a Chicago native that rose to prominence as a leading American painter in the 20th Century. Aklthough influenced by Abstract Expressionist artists such as Willem de Kooning, Natkin developed his own distinct style characterized by luscious color and texture. “Amethyst” (1960) is a strong representation of the artist’s work and was originally purchased directly from the artist’s studio in the 1960s.
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<br>Natkin's 1969 retrospective exhibition at the San Francisco Museum of Art was an early acknowledgment of the artist’s importance. He is represented in over 24 museum collections worldwide, including the Art Institute of Chicago and the Smithsonian American Art Museum.

ROBERT NATKIN

RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 37 1/2 x 53 x 31 in.

RON ARAD

Karl Benjamin was a fixture of the American West Coast School. His work was featured in the "Four Abstract Classicists" exhibition in 1959-60 at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art) and the Los Angeles County Museum at Exposition Park (now the Los Angeles County Museum of Art) alongside Lorser Feitelson, John McLaughlin, and Frederick Hammersley. That exhibition was viewed as Los Angeles' answer to Abstract Expressionism as the West Coast artists' hard edge paintings offered an alternative style to the New York School's energetic brushwork and action painting.
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<br>Benjamin also had a prominent place in "Birth of the Cool: California Art, Design and Culture at Mid-Century," a 2007-09 national traveling show organized by the Orange County Museum of Art.

KARL BENJAMIN

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
<br>
<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINESE

BILL HENSON - Untitled #95 - CB/JPC SH143 N23A, type C photograph - 49 1/2 x 68 1/2 in.

BILL HENSON

HELMUT NEWTON - Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975 - vintage gelatin silver print - 8 x 11 3/4 in.

HELMUT NEWTON

MAURICE GOLUBOV - City Nocturne - oil on canvas - 32 x 42 in.

MAURICE GOLUBOV

JESSIE ARMS BOTKE - The White Peacock - oil on canvas - 25 x 21 in.

JESSIE ARMS BOTKE

WILLIAM TUCKER - Tuche, Greek Goddess of Fortune - bronze - 12 x 9 x 14 in.

WILLIAM TUCKER

ANDY WARHOL - Self Portrait with Mask - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Any Warhol Self-Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

DEWITT PARSHALL - Hermit Creek Canyon, Grand Canyon - oil on canvas - 40 3/4 x 50 in.

DEWITT PARSHALL

CHARLES REIFFEL - Mountain Camp - oil on board - 20 x 21 3/4 in.

CHARLES REIFFEL

ANDY WARHOL - Fiesta Pigs - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Shoes - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Lisa Taylor - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Andy Self Portrait - silver gelatin print - 8 x 10 in.

ANDY WARHOL

ANDY WARHOL - Jean-Michel Basquiat in Soto Sculpture - silver gelatin print - 10 x 8 in.

ANDY WARHOL

ANDY WARHOL - Maurice the Dog Two Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

ANDY WARHOL

ANDY WARHOL - Andy Warhol and Michael Jackson - silver gelatin print - 8 x 10 in.

ANDY WARHOL

JEAN MANNHEIM - Turquoise Creek - oil on board - 20 x 24 in.

JEAN MANNHEIM

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

RICHARD ARTSCHWAGER

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

RICHARD ARTSCHWAGER

ANDY WARHOL - Julian Schnabel 4 Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

ANDY WARHOL

ANDY WARHOL - Donald Baechler - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

CLARENCE HINKLE - Rincon Vista - oil on board - 24 x 30 in.

CLARENCE HINKLE

IRVING NORMAN - Women Welders, The Ship - graphite on paper - 14 1/4 x 28 3/8 in.

IRVING NORMAN

ANDY WARHOL - Bianca Jagger - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in. ea.

ANDY WARHOL

BENJAMIN BROWN - Poppy Fields, San Gabriel Valley - oil on canvas - 10 x 14 in.

BENJAMIN BROWN

CARL SAMMONS - Humboldt County Hills, California - oil on canvas - 24 x 30 1/4 in.

CARL SAMMONS

RAY STANFORD STRONG - Spring, Black Mountain, Marin County - oil on canvas - 24 x 44 in.

RAY STANFORD STRONG

ANDY WARHOL - Henry Geldzahler - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol and Janice Dickenson - silver gelatin print - 10 x 8 in.

ANDY WARHOL

ARISTIDES DEMETRIOS - Bronze Bouquet - metal - 15 1/4 x 7 x 7 1/2 in.

ARISTIDES DEMETRIOS

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

EDGAR SERRANO

ANDY WARHOL - Truman Capote - Polaroid - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy and Barbi Benton - unique silver gelatin print - 8 x 10 in.

ANDY WARHOL

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Steve Rubell - silver gelatin print - 8 x 10 in.

ANDY WARHOL

ANDY WARHOL - Absolute Vodka - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Bruno Acampora - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Model - Polaroid - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Jack Nicholson - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Ivan Karp - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Diana Vreeland - Polaroid - 3 3/8 x 4 1/4 in.

ANDY WARHOL

ANDY WARHOL - Sonia Rykiel - Polaroid - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Grace Jones and Steve Rubell - silver gelatin print - 8 x 10 in.

ANDY WARHOL

WILLEM DE KOONING - For Lisa - lithograph - 17 1/2 x 23 1/4 in.

WILLEM DE KOONING

THOMAS MCGLYNN - California Landscape - oil on canvas - 25 x 30 in.

THOMAS MCGLYNN

ZHANG HUAN - Foam (11) - chromogenic print - 44 1/2 x 33 in.

ZHANG HUAN

EDWARD STEICHEN - Eugene O'Niell - silver gelatin print - 13 x 10 in.

EDWARD STEICHEN

IRVING NORMAN - The Circus, Balancing Act 2 (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - The Circus, The Balancing Act 2a (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Couple) - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

WOJCIECH FANGOR - White Ellipse - oil on canvas - 25 x 28 in.

WOJCIECH FANGOR

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