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WILLIAM WEGMAN (b. 1943)

 
WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in. WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in. WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in. WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in. WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in.
Marigolds, Flying Puppy19899 x 9 in. photograph on paper
Provenance
Private Collection, Illinois

5,000

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Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

ALEX KATZ

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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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.

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Sculptural work by Theaster Gates is anchored in the artist’s long-standing commitment to social action and responsibility, rooted in his home city of Chicago. The wooden frame of "Lathe Black Box" from 2012 is made of wood from The Dorchester Project, one of his best-known pieces. The project transformed a dilapidated building in Chicago’s South Side into a community gathering place and a celebration of local culture. Gates has described this project as part of a “circular ecological system,” selling sculptural works from the material of these projects to finance the ongoing building renovations. In recent years, his creative efforts do not only consist of making fine art from construction materials, but also extend to creating construction materials as fine art. 
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<br>Much of Gates’s work deals with history, memory, and renewal. The mirrored glass at the center of "Lathe Black Box" creates an ambiguous effect, confronting the viewer with their own reflection.

THEASTER GATES

CINDY SHERMAN - Untitled - color photograph - 34 x 23 1/4 in.

CINDY SHERMAN

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

HASSEL SMITH

HASSEL SMITH - I Dreamt I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

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

ROBERT MAPPLETHORPE

LARI PITTMAN - Untitled - oil and acrylic on canvas - 95 x 65 in.

LARI PITTMAN

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

KENNETH NOLAND

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

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ROBERT FRAME - Still Life on Green Table - oil on canvas - 30 x 40 in.

ROBERT FRAME

PETER SHELTON - whitebeard - 41 x 7 x 6 1/2 in.

PETER SHELTON

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

PETER D. GERAKARIS

ERIC JON HOLSWADE - For Forgetting - acrylic on panel - 42 3/4 x 32 5/8 in.

ERIC JON HOLSWADE

GUSTAVE HEINZE - Store Front #122 - acrylic on masonite - 40 x 40 in.

GUSTAVE HEINZE

SIDDHARTH PARASNIS - Cityscape - oil on canvas - 48 x 48 in.

SIDDHARTH PARASNIS

ROBERT FRAME - River Bluff - oil on canvas - 20 x 24 in.

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JAE KON PARK - Untitled - oil on canvas - 11 x 13 1/2 in.

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KAORU MANSOUR - Iro (hana) #497 - mixed media on canvas - 30 x 40 in.

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

WILLIAM WEGMAN

WILLIAM WEGMAN - Dog Cabin - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

CHRIS TRUEMAN - ZS - acrylic and acrylic spray paint on canvas - 36 x 38 3/4 in.

CHRIS TRUEMAN

WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

WILLIAM T. WILEY - It's Only a Pay Per Moon - lithograph and woodcut additions on chamois - 47 3/4 x 38 in.

WILLIAM T. WILEY

MARINO MARINI - Untitled (From Shakespeare I) - lithograph - 29 1/2 x 22 in.

MARINO MARINI