Palm Desert Gallery Walkthrough 2022

PUBLISHED IN: Gallery Tours

ARTWORK CURRENTLY ON VIEW AT HEATHER JAMES PALM DESERT

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color.  <br> <br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div> <br> <br><div><font face=Lato size=3 color=black> </font></div> <br> <br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

HIROSHI SENJU

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

HERB ALPERT

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div> <br> <br><div> </div> <br> <br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div> <br> <br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

HARRY BERTOIA

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium. <br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

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

JULIAN SCHNABEL

JOHN CHAMBERLAIN - ASARABACA - industrial weight aluminum foil with acrylic lacquer and polyester resin - 20 x 23 x 22 in.

JOHN CHAMBERLAIN

Roger Brown is known for his personal and often fantastical imagery and highly stylized paintings with figures and objects that reflect his interest in everyday experiences. Acid Rain explores themes of modern life and social commentary that reflect the role of the artist in society and the potential of art to instigate change. On a more personal level, the theme of acid rain may symbolize corrosive emotional or psychological states, such as depression, anxiety, or the feeling of being overwhelmed by circumstances beyond one's control. Just as acid rain was a largely unseen but devastating environmental problem, the crisis of the emerging HIV/AIDS epidemic likely motivated Brown to create the work to process personal grief, critique the inadequate response from political leaders, and advocate for compassion, understanding, and medical research.

ROGER BROWN

Andy Warhol is synonymous with American art in the second half of the 20th century and is known for his iconic portraits and consumer products, mixing popular culture and fine art, redefining what art could be and how we approach art. While many of Warhol’s works may not represent famed individuals, his depictions of inanimate objects elevate his subjects to a level of celebrity. Warhol first depicted shoes early in his career when he worked as a fashion illustrator and returned to the theme in the 1980s, combining his fascination with consumerism and glamour. With his constant desire to fuse high and low culture, Warhol chose to highlight something that is so ubiquitous as shoes. The subject can denote poverty or wealth, function, or fashion. Warhol glamorizes the pile of footwear, covering them with a patina of glitzy diamond dust, further blurring the meaning between utilitarian need and stylized statement piece.

ANDY WARHOL

The daughter of minimalist sculptor Tony Smith, Kiki's art is not limited to any single medium or technique, and her work often invites multiple interpretations. Club embodies the form and dimensions of a human leg, the essential element for movement and stability. Smith's title invites the viewer to reimagine a leg as a weapon and consider the fragility of the human condition, the power dynamics of bodily autonomy, and the complex interplay between strength and vulnerability. Such a transformation of a body part into an object conveys both protection and aggression and reflects upon how gender-specific bodies navigate our social and personal environment. Club exemplifies Smith's ability to create pieces rich in symbolism, open to interpretation, and provoke thought about the human experience.

KIKI SMITH

"A Dream Within a Dream" is a significant series of paintings and silkscreens by Ryan McGinnes that takes its name from a famous poem by Edgar Allan Poe. Exploring themes of perception, reality, and the subconscious mind, McGinnes incorporates a variety of symbols and motifs, including geometric shapes, botanical elements, and figurative motifs, which he arranges in intricate patterns that seem to shift and morph before the viewer's eyes. The title suggests a sense of ambiguity and uncertainty, reflecting the elusive nature of reality and the fleeing quality of human experience. By engaging with themes of perception and illusion, McGinnes encourages viewers to question their assumptions about the world and to consider the possibility that reality may be more fluid and subjective than it appears.

RYAN MCGINNESS

"A drawing is simply a line going for a walk." <br>-Paul Klee <br> <br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br> <br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

PAUL KLEE

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

Manuel Neri was a central figure in the Bay Area Figurative Movement in the 1960s. Instead of abstract forms, the group emphasized emotion through the power of the human form. The present work, "Untitled" (1982), explores the female form on a life-sized scale. Neri preferred to work with just one model throughout his 60-year career, Maria Julia Klimenko. The absence of a face in many of the sculptures adds an element of mystery and ambiguity. The focus of the composition in "Untitled" is the structure and form of the figure. Manuel Neri is represented in numerous museum collections worldwide, including the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Crocker Art Museum, Sacramento, CA; Denver Art Museum, the El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, New York and the National Gallery of Art, Washington, DC.

MANUEL NERI

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br> <br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINESE

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br> <br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

CHINESE

WALEAD BESHTY - Los Caballos en la Conquista - Ceramica Suro slip cast remnants, glaze, and firing plate - 9 1/2 x 32 1/4 x 21 1/2 in.

WALEAD BESHTY

<div><font face=Lato size=3 color=black>In Harry Bertoia's oeuvre, "<em>Willow</em>" stands apart as an extraordinary synthesis of natural inspiration and innovative metalwork. Its cascading strands of stainless-steel capture the weeping elegance of a willow tree's drooping branches while introducing a dynamic, interactive quality through its shimmering surface and subtle responsiveness to movement. The strands—whether referred to as "tinsels," "filaments," or "tendrils"—reflect the delicacy of natural forms, blending artistry with technical mastery.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>Bertoia, a visionary sculptor with an unparalleled ability to transform industrial materials into organic beauty, likely employed meticulous processes to create "<em>Willow,</em>" cutting thin sheets of stainless steel into fine strips and expertly attaching them to a central core, positioning each strand to flow like water or sway like leaves in the breeze. The tactile quality of the strands, which respond to air currents or touch, invites the viewer into a contemplative engagement with the work, much like one might feel beneath the canopy of a willow tree.</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>This piece epitomizes Bertoia's lifelong fascination with nature, stemming from his early years in the rural village of San Lorenzo, Italy. His sensitivity to the organic world continually informed his artistic practice, from his celebrated Sonambient sound sculptures to creations like “<em>Willow</em>, “which reimagine the relationship between form and environment. As he once said, "I no longer hold onto terms like music and sculpture. Those old distinctions have lost all their meaning."</font></div> <br> <br><div><font face=Lato size=3> </font></div> <br> <br><div><font face=Lato size=3 color=black>Once again , Bertoia captivates us by reaching beyond the traditional boundaries of sculpture, delivering a work that is as much a sensory experience as a visual one. It is a harmonious blend of natural inspiration and innovative artistry, a reminder of the sacred beauty found in the intersection of art and the natural world.</font></div>

HARRY BERTOIA

CHARLES ARNOLDI - Sticky Wicket - acrylic, modeling paste and sticks on plywood - 44 1/4 x 91 x 3 in.

CHARLES ARNOLDI

WILLIAM WENDT - Laguna Hills - oil on canvas - 25 x 30 in.

WILLIAM WENDT

MARC QUINN - Lovebomb - photo laminate on aluminum - 108 1/4 x 71 3/4 x 37 3/4 in.

MARC QUINN

SETH KAUFMAN - Lignum Spire - bronze with green patina - 103 1/2 x 22 x 17 in.

SETH KAUFMAN

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br> <br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

CHINESE

EDGAR ALWIN PAYNE - Venetian Boats at Sotto Marino - oil on panel - 23 3/8 x 26 1/4 in.

EDGAR ALWIN PAYNE

Harry Bertoia’s Willow sculpture resonates as an expression of grace and delicacy; qualities that bely the usual associations we have with the intrinsic properties of the alloy of which it is made. This suspended version – the rare version of Willow - seems to have a self-aware presence; one that delights in that contrast of properties. Yet it invites nothing more than existential pleasure in the viewing of it. Think of Willow as a boldly articulated version of Calder if the latter master had a more organic or corporeal evocation in mind. Suspended, it commands its area yet respects its spatial relationship to its surround. Light, form, space – these are conceptual tools of the sculptor. But who else would think to use reflective material more readily associated with inflexibility and tensor strength to create a bouquet of cascading strands of stainless steel, suspended in space, flora-like and so gracefully beautiful?

HARRY BERTOIA

JOANNA POUSETTE-DART - Untitled (Red Desert Study) - acrylic on wood panel - 33 1/2 x 42 x 3/4 in.

JOANNA POUSETTE-DART

During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior.

MANUEL NERI

Manuel Neri's early paper mâché works broke ground in sculptural technique, and his approach to painting his sculptures reflects his deep engagement with the expressive potential of color and form. The choice and placement of colors in Hombre Colorado II create a particularly visceral response that reflects his nuanced understanding of the psychological and emotional dimension of color. Conceptualized and produced in 1958, Hombre Colorado II reflects a time when Neri and his wife Joan Brown were engaged in a rich artistic exchange of creativity and contributed significantly to the evolution of their respective styles and the Bay Area Figurative Movement, in which they played vital roles.

MANUEL NERI

MEL RAMOS - Lola Cola; A.C. Annie; Della Monty; Tobacco Red - four offset color lithographs - 30 3/4 x 25 1/4 in. ea.

MEL RAMOS

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

AI WEIWEI