Back

THEASTER GATES (b. 1973)

ARTIST BIO INQUIREDOWNLOAD PDFSIMILAR ARTWORKS
 
THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in. THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.
THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.
Stand-Ins for Period of Wreckage 25201148 x 12 x 12 in. white concrete and porcelain
Provenance
Private Collection, Kavi Gupta
Private Collection, Puerto Rico

65,000

Back
Inquire

Similar Artworks

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.

TOM WESSELMANN

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work. <br> <br>Gary Hume was an early member of the "YBA" or Young British Artist group. Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze." Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain. <br> <br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

GARY HUME

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

MATTHEW MONAHAN

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

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

MATT JOHNSON

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.

THEASTER GATES

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

HASSEL SMITH

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

HASSEL SMITH

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

HASSEL SMITH

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

ALEX KATZ

MARTIN CREED - Work No. 2147 - acrylic on canvas - 16 x 20 in.

MARTIN CREED

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

HASSEL SMITH

PETER SHELTON - noarm. - plastic and acrylic - 45 x 15 3/4 x 8 in.

PETER SHELTON

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

HASSEL SMITH

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

KEITH HARING

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

RUSSELL YOUNG

Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

Sandra Mendelsohn Rubin

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

PETER SHELTON

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

ERIC JON HOLSWADE

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

STEVEN MCCALLUM

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

EDGAR SERRANO

Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

CHINA ADAMS - Glass Box #25 - artist's burdensome possessions - 15 x 15 1/2 x 15 1/2 in.

CHINA ADAMS

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

WILLIAM WEGMAN

ROGER THOMAS - Grenelle Arm Chairs - Black Lacquer Finish and Gold Cord on Muslin with Original Drawings; Unique - 38 x 24 x 24 in.

ROGER THOMAS

WILLIAM WEGMAN - Red Dog - C-Print - 3 3/4 x 3 3/4 in.

WILLIAM WEGMAN

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

LAWRENCE LEE