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REPRESENTED ESTATES

IRVING NORMAN
WILLIAM THEOPHILUS BROWN
GRACE HARTIGAN
NATHAN OLIVEIRA
HASSEL SMITH
JAE KON PARK
PAUL WONNER
Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
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<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. 
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<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
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<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15

KEITH HARING

Created at a seminal point early in the artist’s career, Le Mont Riboudet à Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.

CLAUDE MONET

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.

ANISH KAPOOR

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

TOM WESSELMANN

Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.

SALVADOR DALI

"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again."
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<br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface.  
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<br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself.  Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment.    
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<br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015.  The present work has been held in a private collection since its creation.

ANSELM KIEFER

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

JOHN MARIN

Larry Rivers is considered by many to be the "Godfather" of the Pop-Art movement.  In Larry Rivers' 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture.  Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes.  Rivers interprets his subject with a pop-art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself.  
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<br>In 2002 a retrospective of Rivers' work was held at the Corcoran Gallery of Art in Washington, D.C.

LARRY RIVERS

Gabriel Orozco is one of the preeminent artists working today. A native Mexican, Orozco gained initial recognition in the 1990s through his artistic creations across a wide range of media, including sculpture, drawing, photography, and installation works. Orozco had a significant mid-career traveling retrospective that ended in 2011 at the Tate Modern. He is widely regarded as one of the most innovative artists of our time.
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<br>“Samurai Tree - Invariant Gold 2” (2005) is part of the “Samurai Tree” series, the genesis of which was an exploration into the geometry of the circle in drawings Orozco produced on graph paper before 2004.  
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<br>“I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “so it’s a flat mobile maybe, or it’s a diagram that’s rotating and moving. And behaving not like a painting, in a way.”

GABRIEL OROZCO

American painter Pat Steir has sought inspiration in both Abstract Expressionism and Taoist philosophy. Ancient Chinese painting techniques, most significantly the eighth and ninth century “ink-splashing” painters, helped to inform her Waterfall series, which gained her acclaim and recognition in the 1980s. These works, created by splashing and dripping her pigments onto the canvas, were inspired by the relationship between humanity and nature, and the concept of allowing elemental forces to actively assist in creating her paintings. She begins the process, and then lets gravity and the environment take over, the results no longer in her hands.  
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<br>Also appearing repeatedly in her work is floral imagery. This large-scale triptych from 1981 is one of her earliest Chrysanthemum paintings. It was exhibited in the Whitney Biennial in 1982.

PAT STEIR

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

Henri Matisse is one of the most influential artists of the twentieth century and whose oeuvre covers painting, drawing, sculpture, etchings, linocuts, lithographs, aquatints, paper cutouts, and book illustration. An early proponent of Fauvism with its outrageous colors and dynamic composition, Matisse would also move into abstraction, pioneering the use of color and form in each stage of his career. This drawing depicts Madame Monchaux and displays the incredible draftsmanship that often characterized his work. Striving to achieve “the art of balance, of purity and serenity”, his drawings appear effortless but are careful studies to unite line and form.

HENRI MATISSE