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ERIC JON HOLSWADE

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Bird's Eye View201265 x 78 in. oil, flashe & gouache on cardboard

18,000

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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

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.
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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.

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

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

THEASTER GATES

HASSEL SMITH - Homage to the Headhunters - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

HASSEL SMITH

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

ROBERT MAPPLETHORPE

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

ALEX KATZ

THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

THEASTER GATES

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

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

SIDDHARTH PARASNIS

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

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

WILLIAM WEGMAN

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

TATIANA BOTTON - Tree of Life #9 - metal backing with metal clips with acrylic front - 60 x 40 in.

TATIANA BOTTON

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

ROGER THOMAS

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

LAWRENCE LEE