Back

ANTHONY CARO

ARTIST BIO INQUIREDOWNLOAD PDFSIMILAR ARTWORKS
 
ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in. ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.
ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.
Figure in a Tub1985-8642 x 30 1/4 x 24 1/4 in. bronze
Provenance
Acquavella Gallery, New York
Private Collection, New York

180,000

Back
Inquire

Similar Artworks

"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." <br> <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. <br> <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. <br> <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

DAVID BREUER-WEIL - Alien - bronze with brown patina - 236 1/8 in.

DAVID BREUER-WEIL

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.

JULIAN SCHNABEL

Henry Moore, a father of Modern British sculpture, is known for his large-scale, semi-abstract figurative sculptures in bronze, wood, and marble. This 1960 bronze sculpture of two seated figures demonstrates Moore’s gestural treatment of material. The focus on a family group is reflective of the artist’s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject mater and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.

HENRY MOORE

MATTHEW MONAHAN - Nation Builder - cast bronze - 107 x 62 x 27 in.

MATTHEW MONAHAN

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

MATT JOHNSON - Pieta - cast bronze - 65 x 58 x 40 in.

MATT JOHNSON

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

THEASTER GATES

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.

GEORGE CONDO

THEASTER GATES - Lathe Black Box - wood, glass and lathe - 50 1/4 x 53 x 6 7/8 in.

THEASTER GATES

LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 73 3/8 x 96 3/4 x 26 1/4 in.

LEANDRO ERLICH

TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in.

TIM HAWKINSON

YAYOI KUSAMA - Soaring Spirit - stainless steel balls and wire - 19 x 18 x 14 in.

YAYOI KUSAMA

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

GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

GUILLERMO KUITCA

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

RUSSELL YOUNG

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

AMY SILLMAN

WILLARD DIXON - On the Way to Lake Isabelle - oil on canvas - 48 x 72 in.

WILLARD DIXON

ADAM FUSS - Yellow Circle - photogram - 24 x 19 3/4 in.

ADAM FUSS

ERIC JON HOLSWADE - For Forgetting - acrylic on panel - 42 3/4 x 32 5/8 x 1 in.

ERIC JON HOLSWADE

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

SIDDHARTH PARASNIS

WILLIAM WEGMAN - Marigolds, Petunias, Meimaraners, etc. - photograph on paper - 6 3/4 x 13 in.

WILLIAM WEGMAN

LAWRENCE LEE - There by Flight - India Ink, graphite, tea stains, pen and watercolor on paper - 32 x 32 in.

LAWRENCE LEE

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

MARINO MARINI

WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in.

WILLIAM WEGMAN