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RONALD DAVIS (b. 1937)

 
RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in.
Dark Tube201920 x 20 in. proprietary pixel dust on aluminum

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Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

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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.

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

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PETER SHELTON - noarm. - plastic and acrylic - 45 x 15 3/4 x 8 in.

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ARISTIDES DEMETRIOS - The Eternal Flame - steel - 47 3/4 x 6 x 7 in.

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JOSE MARIA SICILIA - Yellow Flower IV - acrylic on linen - 77 x 53 in.

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KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

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RUSSELL YOUNG - Mountain - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

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

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JEFF KOONS - Girl with Lobster - color digital ditone print - 29 1/4 x 24 in.

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

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ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

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

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

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MASAKO TAKAHASHI - Untitled - oil on canvas - 32 x 26 in.

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MASAKO TAKAHASHI - Untitled - oil on canvas - 33 3/4 x 26 in.

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

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