Back

RONALD DAVIS (b. 1937)

 
RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in. RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in.
A Cube201711 x 11 x 1/4 in. render on glass

4,800

Inquire

Similar Artworks

This painting has remained in the same private collection since its creation.  Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
<br>
<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.  
<br>
<br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
<br>
<br>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 and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while 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.

ED RUSCHA

Ed Moses was a prominent figure in the Los Angeles art scene for nearly 70 years. He first exhibited in 1949 and was part of the original group of artists from the Ferus Gallery in 1957 – fellow Cool School artist Ed Ruscha also had his first solo exhibition there in 1963. The large scale and tryptic formation of “Franco-Del #1 & #3” from 2006 is rare for Moses. The piece is executed in earth tones of browns, grey, black, rust and pine green. Always working with process and experimenting with materials as a painter, Moses has been critically lauded for his bold composition and innovation.

ED MOSES

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.

DONALD SULTAN

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

HASSEL SMITH

HASSEL SMITH - Untitled, 109-84 - acrylic on canvas - 67 5/8 x 68 in.

HASSEL SMITH

ALEX KATZ - Untitled - oil on masonite - 11 7/8 x 15 3/4 in.

ALEX KATZ

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

PETER SHELTON

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

KENNETH NOLAND

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

KEITH HARING

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

JEFF KOONS

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

Sandra Mendelsohn Rubin

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

JOHN FRAME

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

AMY SILLMAN

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

PETER D. GERAKARIS

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

WILLIAM GLEN CROOKS

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

EDGAR SERRANO

STEPHEN P. CURRY - Cardinal (Pomegranates) - oil on canvas - 39 1/4 x 50 in.

STEPHEN P. CURRY

Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

Ann Craven - Full Moon with Clouds - oil on canvas - 14 x 14 in.

Ann Craven

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

WILLIAM WEGMAN

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

CHINA ADAMS

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

WILLIAM WEGMAN

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

PENELOPE GOTTLIEB

RONALD DAVIS - Large Lavender Slab - proprietary pixel dust on aluminum - 18 x 24 in.

RONALD DAVIS

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

ROGER THOMAS