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RONALD DAVIS (b. 1937)

 
RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in. RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in.
Glass Box201820 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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In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. Untitled (Portrait)(Boy) was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media.

RICHARD PRINCE

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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WILLIAM MORRIS - Fallow Deer Situla - blown glass - 16 x 23 1/2 x 13 in.

WILLIAM MORRIS

Donald Sultan’s Black and Blue from 2008 fits comfortably within both Pop art and Minimalism. The work is a sly reference to Warhol as if a polarized negative image of the Pop artist’s iconic Flower series. Working with unconventional use and application of paint, Sultan vacillates between abstraction and representational art, but always maintaining strong contrasts and powerful, simple statements. Sultan describes his work as "heavy structure, holding fragile meaning." Sultan’s work is represented in the permanent collections of many major museums in the United States and abroad, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and the Whitney Museum of American Art.

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HASSEL SMITH - King Clone - acrylic on canvas - 67 3/4 x 67 1/2 in.

HASSEL SMITH

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

HASSEL SMITH

ROBERT MAPPLETHORPE - Orchids - dye-transfer print - 22 1/2 x 21 1/2 in.

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HASSEL SMITH - More and More Cosmic Funk - acrylic on canvas - 68 x 68 in.

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THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

THEASTER GATES

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

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KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

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JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.

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Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

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JOHN FRAME - Untitled - wood and mixed media - 53 x 40 x 6 3/4 in.

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AMY SILLMAN - Untitled #7 - gouache, chalk, and pencil on etching on paper - 31 x 28 in.

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PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

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

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

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

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CHINA ADAMS - Glass Box #25 - artist's burdensome possessions - 15 x 15 1/2 x 15 1/2 in.

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

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PENELOPE GOTTLIEB - Hibiscadelphus wilderianus - ballpoint pen and graphite on paper - 59 1/4 x 39 1/4 in.

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TATIANA BOTTON - Water and Ice Details - Metal backing with metal clips with acrylic front - 40 x 60 in.

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

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ROGER THOMAS - Perfected World 3 Candlestick - pastel on Dieu Donné handmade archival rag - 60 x 40 in.

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