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HASSEL SMITH (1915-2007)

ARTIST BIO INQUIREDOWNLOAD PDFSIMILAR ARTWORKS
 
HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in. HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.
HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.
From 1 to 9197668 x 68 in. acrylic on canvas
Provenance
Estate of Hassel Smith

75,000

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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.

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

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

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

HASSEL SMITH

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

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PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

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HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

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

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

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

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

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ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

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Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

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

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

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

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

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

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