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TIM HAWKINSON (b. 1960)

 
TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in. TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in.
Forest Ear199572 x 48 x 1 3/4 in. wood and mixed media

125,000

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Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

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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.
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<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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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.

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Provenance: 
<br>Imago Galleries, CA
<br>Private collection, CA (acquired from above)

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