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LEANDRO ERLICH (b. 1973)

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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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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.
Rain199973 3/8 x 96 3/4 x 26 1/4 in. steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati
Provenance
Galerie Gabriele Maubrie, Paris (purchased at Art Basel, Switzerland in 2001)
Private Collection, Texas

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The stands are: 32 H x 19-3/4 W x 19-3/4 D in. <br> <br>Rat: 27 7/8 x 12 7/8 x 20 7/8 in. <br>Ox: 29 1/8 x 20 1/8 x 16 7/8 in. <br>Tiger: 25 7/8 x 14 7/8 x 16 7/8 in. <br>Rabbit: 27 7/8 x 9 7/8 x 18 7/8 in. <br>Dragon: 35 7/8 x 18 1/8 x 25 7/8 in. <br>Snake: 27 7/8 x 14 1/8 x 6 3/4 in. <br>Horse: 29 1/8 x 12 1/4 x 22 in. <br>Ram: 25 1/4 x 20 7/8 x 16 1/8 in. <br>Monkey: 27 1/8 x 12 7/8 x 14 7/8 in. <br>Rooster: 24 x 9 x 16 7/8 in. <br>Dog: 25 1/4 x 14 7/8 x 18 7/8 in. <br>Boar: 27 1/8 x 16 1/8 x 20 7/8 in. <br> <br>World-renowned Chinese contemporary artist Ai Weiwei is a sculptor, installation artist, architectural designer, curator, and social and cultural critic who has been exhibiting his work internationally since the late 1990s. His artistic practice is inextricably linked with cultural engagement and willingly crosses barriers between different media—cultural, artistic, and social. It was perhaps his detention from 2011 until August 2015 by the Chinese government that brought his views to the greatest audience. Ai Weiwei now lives in Germany and continues to create new works and uses his significant international profile to promote artistic and personal freedom. <br> <br>These twelve sculptures depict the animals associated with the traditional Chinese zodiac. Ai Weiwei’s cycle references a European rendering of the zodiac animals designed by the Italian Jesuit Giuseppe Castiglione. The original sculptures were built in the eighteenth century for an elaborate water-clock fountain at the Yuanming Yuan (Old Summer Palace), which was ransacked in 1860. By recreating the lost and displaced statues, Ai Weiwei engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in his work concerning the “fake” and “copy” in relation to the original. <br> <br>Ai Weiwei now works in Berlin, Germany.

AI WEIWEI

"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.

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Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

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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. This painting has remained in the same private collection since its creation. <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 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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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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.

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

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Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.

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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.

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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.

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Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

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