TO BENEFIT Henry Street Settlement
ORGANIZED BY Art Dealers Association of America
March 1– 5, Gala Preview February 28
FOUNDED 1962
Park Avenue Armory at 67th Street, New York City
MEDIA MATERIALS Lead sponsoring partner of The Art Show
The ADAA Announces Program Highlights at the 2017 Edition of The Art Show
ART DEALERS
ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art.
#TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement
ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017
To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW
New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement. For the fair’s keynote public program, the ADAA is pleased to host a panel discussion featuring insights from arts and museum leaders on the health of the country’s cultural nonprofits. Gathering Lawrence J. Wheeler, Director of the North Carolina Museum of Art; Kaywin Feldman, Nivin and Duncan McMillan Director of the Minneapolis Institute of Art; and Zannie Voss, Director of the National Center for Arts Research at Southern Methodist University; the discussion will be moderated by Art in America Editor in Chief Lindsay Pollock and will take place at the Park Avenue Armory on Friday, March 3, at 6:00 p.m.
Organized by the ADAA, a nonprofit membership organization of art dealers from around the country, The Art Show offers collectors, arts professionals, and the public the opportunity to engage with artworks of the highest quality through intimately scaled and thoughtfully curated exhibitions that encourage close looking and active conversation with gallerists. As part of the ADAA’s philanthropic partnerships, all admission from The Art Show and proceeds from the Gala Preview benefit the Henry Street Settlement, one of New York’s leading social service, arts, and health care organizations. AXA Art Americas Corporation, a specialist dedicated entirely to protecting art and collectibles, once again supports The Art Show as Lead Partner.
In conjunction with The Art Show, the ADAA Foundation will offer Alexander Calder’s The Clove (c. 1936) for sale to benefit the Foundation’s mission to advance appreciation of art and art history through its support of curatorial research and exhibition development. The sculpture, which was gifted by the artist to the ADAA Foundation in 1971, will be on public view at The Art Show for the first time since 1937.
“The Art Show is a vital platform for our members to strengthen existing relationships with collectors, as well as forge new ones,” said Adam Sheffer, ADAA President and Cheim & Read Partner and Sales Director. “One of very few fairs organized by a nonprofit community of art dealers, The Art Show’s intimate atmosphere encourages active dialogue with the public and emphasizes our members’ deep engagement with the work and the artists they represent.”
ADAA Member Presentations at The Art Show 2017 The Art Show’s 72 presentations are selected from over 100 proposals from ADAA member galleries, providing audiences with high-quality presentations of works from the 19th century through today, by artists of a variety of genres, practices, and national and international origin. The 2017 show will include a number of first-time exhibitors, including Fergus McCaffrey, who will present works by Viennese artist Birgit Jürgenssen; James Fuentes, who will juxtapose works by Tamuna Sirbiladze and Noam Rappaport; Hosfelt Gallery, who will highlight four decades of work by Argentinian artist Liliana Porter; and Casey Kaplan, who will present paintings by American artist Sarah Crowner. Longtime ADAA members who are newly returning to the fair include Paula Cooper Gallery, presenting new works by post-conceptual artist Kelley Walker; and Gavin Brown’s enterprise, presenting a sculptural installation by Rirkrit Tiravanija.
“We’re pleased to welcome new and returning members to The Art Show in 2017,” said Chair of The Art Show Anthony Meier. “This year’s fair will showcase an amazing range of international artists and works that span over two centuries of art history. Through both solo and group exhibitions, members will provide a platform for artists who deserve further exploration as well as offer exciting approaches to well-known artists, which helps to shed new light on their work.”
With its distinctly intimate and contemplative atmosphere, The Art Show serves as a platform for many ADAA members to develop thoughtful presentations curated around specific conceptual or formal themes of visual art practice. Such highlights this year include Women of (New) Abstract Painting, organized by Crown Point Press, which will bring together paintings by Tomma Abts, Jacqueline Humphries, and Charline von Heyl; while Barbara Mathes Gallery will explore Painting and the Photographic Image through works by Allan D’Arcangelo, Jan Dibbets, Joe Goode, Michelangelo Pistoletto, Sigmar Polke, and others. Pace/MacGill Gallery’s collection of photographs by Harry Callahan, William Eggleston, Irving Penn, Alfred Stieglitz, and others will focus on the myriad ways artists have explored and interpreted line.
Many of the fair’s solo exhibitions will explore the practices of some of the most significant artists working today, including several debuts of artworks created specifically for The Art Show 2017. David Zwirner will present new paintings on canvas and on paper by Chris Ofili, which have never been shown publicly before. Tanya Bonakdar Gallery will present recent environmentally focused works by Olafur Eliasson, including watercolors formed with water from fragments of melting glacial ice. Coinciding with the Ohio-based artist Scott Olson’s first solo exhibition with James Cohan at its Lower East Side location, the gallery is dedicating its Art Show booth to new paintings by Olson that
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
reflect the centrality of material production and transformation in his practice. Salon 94 will debut work by MoMA-honored Pakistani sculptor Huma Bhabha; 303 Gallery will unveil a new triptych, Antiquarian Sleeping in His Shop, created specifically for The Art Show by Rodney Graham; and Petzel will present the first four-decade survey of Joyce Pensato’s work.
In addition to presentations of leading contemporary artists, member galleries’ exhibitions will offer new insights on established and influential artists of the 19th and 20th centuries, such as abstract expressionist Lee Krasner, whose Solstice Series collages will be presented by Paul Kasmin Gallery; and Richard Diebenkorn, whose major prints from the Ocean Park series will be presented by Van Doren Waxter. Additional exhibitions of note feature Louise Bourgeois, whose rare and early works will be highlighted by Peter Blum Gallery; Norman Lewis, whose paintings will be presented by Michael Rosenfeld Gallery; post-impressionist Édouard Vuillard, whose paintings and works on paper will be presented by Jill Newhouse Gallery; and American landscape painter George Inness, whose work will be featured in a historical survey for the first time in decades by Thomas Colville Fine Art.
The fair also includes notable surveys of Latin American and Mexican artists, including an exhibition spanning more than 40 years of work by Cuban artist Zilia Sánchez, presented by Galerie Lelong. CRG Gallery will present a solo exhibition of works by Brazilian artist Alexandre da Cunha, and Alexander Gray Associates will present works created collaboratively by German-born Uruguayan artist Luis Camnitzer and the New York Graphic Workshop. Mary-Anne Martin/Fine Art, noted for its Latin American art program, will celebrate the gallery’s 35th anniversary with selections from modern Mexican painter Rufino Tamayo, 20th-century Abstract Expressionist and Surrealist Roberto Matta, Afro-Cuban painter Wifredo Lam, and Uruguayan-Catalan Modernist Joaquín Torres García.
The Art Show 2017 Special Events and Programming The Art Show will open with a Gala Preview on Tuesday, February 28, at 5:00 p.m., to benefit Henry Street Settlement. The annual event brings together the international art world and New York City philanthropists in support of the vital services Henry Street Settlement provides to New Yorkers each year. Individual tickets range from $175 to $2,000 and are available to purchase online or by contacting Henry Street Settlement at 212.766.9200, ext. 248.
On Friday, March 3, Art in America Editor in Chief Lindsay Pollock will moderate the keynote event, “Beyond New York: Cultural Vibrancy Across the U.S.,” a panel discussion between Lawrence J. Wheeler, Director of the North Carolina Museum of Art; Kaywin Feldman, Nivin and Duncan McMillan Director of the Minneapolis Institute of Art; and Zannie Voss, Director of the National Center for Arts Research at Southern Methodist University. The group will discuss their individual successes and strategies for engaging their local arts and cultural communities. The keynote is an annual highlight of The Art Show and one of many public programs presented by the ADAA throughout the year.
Henry Street Settlement is pleased to continue its tradition of offering artworks for sale through a silent bidding process available online via Paddle8 beginning February 17, as well as on-site through the run of The Art Show. For this year’s fair, works by prominent artists such as Tal R, Andy Warhol, and Nick Mauss, have been donated by ADAA member galleries from across the country as well as The Pierre and Tana Matisse Foundation, and their sale directly supports Henry Street’s social service, arts, and healthcare programs.
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
Sale of Alexander Calder’s The Clove to Benefit the ADAA Foundation In conjunction with The Art Show, the ADAA Foundation is pleased to present for sale The Clove (c. 1936)—a painted steel metal sculpture by Alexander Calder—through a silent bidding process. Bidding begins online through Paddle8 on February 17, available at paddle8.com/auction/ADAAF, and will continue in-person at the Park Avenue Armory through the run of The Art Show, from February 28 through March 5. This marks only the second time in the work’s history that The Clove will be on public view, the first being the 1937 exhibition Calder: Stabiles & Mobiles at Pierre Matisse Gallery in New York. The work of the Foundation reflects ADAA members’ long-held commitment to advancing broad engagement with the full scope of the arts. Proceeds from the sale of The Clove will strengthen the Foundation’s mission to encourage the appreciation of art and art history through its support of curatorial research and exhibition development.
Since its founding in 1971, the ADAA Foundation has been supported by donations from ADAA member galleries and has distributed grants to museums, archives, and arts organizations around the country to advance art historical research and exhibition development. Select recipients have included organizations such as Artists Space, the Frick Art Resource Library, The Morgan Library & Museum, the Archives of American Art, The Jewish Museum, the National Academy of Art and Design, and the Association of American Museum Curators, among others.
The Clove has an important history with the ADAA Foundation and was gifted to the Foundation by Alexander Calder in 1971 to support the creation of a prize for the ADAA Award, which honored and celebrated outstanding achievement in curation and art criticism. The ADAA Award prizes were modeled on The Clove—slightly larger in size and made in unpainted copper—and were given to 17 awardees between 1972 and 1987, including recipients such as Alfred H. Barr Jr., Meyer Shapiro, Horst W. Janson, and Clement Greenberg, among many others. Since it was gifted in 1971, the sculpture has remained in the ADAA Foundation’s possession through the present day and its sale will now support the significant efforts of the Foundation.
The Art Show 2017 Wednesday, March 1, through Friday, March 3, 12:00 p.m. to 8:00 p.m. Saturday, March 4, 12:00 p.m. to 7:00 p.m. Sunday, March 5, 12:00 p.m. to 5:00 p.m. Location: Park Avenue Armory, 643 Park Avenue at 67th Street, New York Tickets: $25 per day; available online or at the door. All ticket sales benefit Henry Street Settlement.
The Art Show Gala Benefit Preview The Art Show Gala Benefit Preview will be held on Tuesday, February 28, from 5:00 p.m. to 9:30 p.m. to benefit Henry Street Settlement. Tickets are available online or through Henry Street Settlement at 212.766.9200 ext. 248.
Keynote Event: “Beyond New York: Cultural Vibrancy Across the U.S.” Friday, March 3, 6:00 p.m. Board of Officers Room at Park Avenue Armory, 643 Park Avenue at 67th Street, New York Free entry with fair admission.
Generous support for The Art Show is provided by Lead Partner AXA Art Americas Corporation.
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
The full list of ADAA member presentations at the 2017 edition of The Art Show includes:
303 Gallery New triptych by Rodney Graham, Antiquarian Sleeping in His Shop, including props created for the work Adler & Conkright Fine Art Works inspired by advertising, graphics, and industrial design by artists of the 1960s and ’70s Alexander and Bonin Selection from three decades of work by German artist Michael Buthe Brooke Alexander, Inc. Minimalist, geometric, and abstract works by Josef Albers, Richard Artschwager, John Baldessari, Donald Judd, and Ken Price Berggruen Gallery Selection of works by artists including Willem de Kooning, Richard Diebenkorn, Helen Frankenthaler, Ellsworth Kelly, David Park, and Wayne Thiebaud Peter Blum Gallery Rare and early works by Louise Bourgeois Tanya Bonakdar Gallery Recent environmentally-focused sculptures and watercolors by Olafur Eliasson Bortolami Sculptures by Argentinian artist Nicolás Guagnini and paintings by Alaska-born artist Caitlin Keogh Gavin Brown’s enterprise A sculptural installation by Rirkrit Tiravanija Cheim & Read Exhibition of Bill Jenson’s Dark Paintings series James Cohan New paintings by Ohio-based artist Scott Olson Thomas Colville Fine Art George Inness: Master of the American Landscape, the first historical survey in decades for the American landscape painter Paula Cooper Gallery New work by post-conceptual artist Kelley Walker CRG Gallery New sculptures by Brazilian artist Alexandre da Cunha Crown Point Press Women of (New) Abstract Painting: Charline von Heyl, Jacqueline Humphries, and Tomma Abts Maxwell Davidson Gallery Paintings from Sam Messenger’s Horizons series Fraenkel Gallery Paintings of photographs by Elisheva Biernoff Peter Freeman, Inc. Selection of duplicates and pairings of works by Mel Bochner, Jan Dibbets, Agnes Martin, Catherine Murphy, Hiram Powers, Gerhard Richter, Thomas Schütte, and Richard Serra that explore seriality and repetition James Fuentes Works by Tamuna Sirbiladze and Noam Rappaport Galerie St. Etienne Works by German Expressionists, including Erich Heckel, Ernst Ludwig Kirchner, Otto Mueller, Emil Nolde, Max Pechstein, and Karl Schmidt-Rottluff James Goodman Gallery Selection of modern works by Alexander Calder, Jean Dubuffet, Adolph Gottlieb, Alex Katz, Roy Lichtenstein, Joan Miro, Henri Matisse, Pablo Picasso, Andy Warhol, and others Marian Goodman Gallery Paintings, sculptures, and works on paper by Ettore Spalletti Alexander Gray Associates Graphic work by Luis Camnitzer produced with the New York Graphic Workshop (1964–70) Richard Gray Gallery Exhibition survey of Evelyn Statsinger’s early work from 1948–52 Hauser & Wirth Drawings from Arshile Gorky’s Nighttime, Enigma, and Nostalgia series Hirschl & Adler Modern Elizabeth Turk: Dialogue in Stone, sculptures from 2006–15 Rhona Hoffman Gallery Built Place, Natural Space: Artists Working with Their Environment including works by Donald Judd, Sol LeWitt, Sylvia Plimack Mangold, Richard Tuttle, and James Wines
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
Hosfelt Gallery Selection of over four decades of work by Argentinian-born, New York-based artist Liliana Porter Inman Gallery Selection of works by Texas Modernist Dorothy Antoinette (Toni) LaSelle from 1946–56 Casey Kaplan Selection of works by American artist Sarah Crowner Paul Kasmin Gallery Collages from Lee Krasner’s Solstice Series June Kelly Gallery Paintings by American landscape artist Kay WalkingStick Sean Kelly Gallery Rarely-exhibited paintings and works on paper by Belgian artist Ilse D’Hollander Kohn Gallery Dual exhibition of rare assemblages, photography, paintings, and works on paper by Bruce Conner, alongside mixed media paintings and sculpture by Tony Berlant Barbara Krakow Gallery Selection of works by Richard Artschwager, Robert Barry, Bernd and Hilla Becher, Sol LeWitt, Allan McCollum, and Richard Serra exploring surface and seriality in conceptually-based work Hans P. Kraus Jr. Inc. Photograms from the earliest days of photography, alongside works by contemporary artists inspired by 19th-century photographers Lehmann Maupin Paintings by British artist Billy Childish Galerie Lelong Recent and historical Topología paintings by Cuban-born artist Zilia Sánchez Locks Gallery Gravity and Grace: Selected works by Robert Motherwell, Louise Bourgeois, Isamu Noguchi, and Pat Steir Jeffrey H. Loria & Co., Inc. Made in France: Works by Pablo Picasso, Henri Matisse, Wassily Kandinsky, Jean Dubuffet, Alberto Giacometti, and the surrealists Luhring Augustine Paintings by American artist Josh Smith Matthew Marks Gallery Selection of works by gallery artists: Jasper Johns, Elsworth Kelly, Vija Celmins, Robert Gober, Martin Puryear, Charles Ray, Anne Truitt, and Brice Marden Mary-Anne Martin/Fine Art Selection of works by Latin American artists, including Rufino Tamayo, Roberto Matta, Wilfredo Lam, and Joaquin Torres-Garcia, to celebrate the gallery’s 35th anniversary Barbara Mathes Gallery Painting and the Photographic Image: Works by Allan D’Arcangelo, Jan Dibbets, Joe Goode, Michelangelo Pistoletto, Sigmar Polke, and others Fergus McCaffrey Selection of works by Viennese artist Birgit Jürgenssen Anthony Meier Fine Arts Single-work presentation of Untitled (Wedge), a 1981–84 sculpture by Larry Bell Menconi + Schoelkopf Fine Art, LLC Works by American modernists from the 19th and 20th centuries: Alfred Henry Maurer, Stuart Davis, Joseph Stella, Ralston Crawford, and others Yossi Milo Gallery Photographic works by Marco Breuer and Clare Strand Mnuchin Gallery Selection of works by postwar and contemporary masters Donald Morris Henri Laurens sculptures from the 1920s and 30s, accompanied by Gallery, Inc. works from Joseph Cornell, Sam Francis, Jean Dubuffet, Henri Matisse, and Piet Mondrian Jill Newhouse Gallery Under the Influence: Édouard Vuillard and Contemporary Art, paintings and works on paper by Vuillard, with works by Tina Barney, Lisa Yuskavage, Fairfield Porter, Howard Hodgkin, and Richard Artschwager
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
David Nolan Gallery Works by American artists Mel Kendrick and Alexander Ross P.P.O.W. Rare vintage works by painter Betty Tompkins Pilkington-Olsoff Fine Arts, Inc. Pace Gallery Recent abstract paintings by Thomas Nozkowski Pace/MacGill Gallery A multimedia exploration on the use of line, featuring works by Harry Callahan, Tara Donovan, William Eggleston, Robert Frank, Paul Graham, Richard Learoyd, Sol LeWitt, Maya Lin, Richard Misrach, Susan Paulsen, Irving Penn, Michal Rovner, Lucas Samaras, Kiki Smith, Saul Steinberg, Alfred Stieglitz, Lee Ufan, and Leo Villareal Pace Prints & Masterpieces of African sculpture juxtaposed with important prints by Pace Primitive 20th-century European and American artists Petzel Four decades of paintings and works on paper by Joyce Pensato James Reinish & Associates, Inc. Making an Art Market: Edith Halpert’s Downtown Gallery and the Artists of American Modernism Michael Rosenfeld Gallery, LLC Paintings by abstract expressionist Norman Lewis Salon 94 Cork sculptures, pastels, and a new portfolio of prints by Pakistan-born artist Huma Bhabha Julie Saul Gallery The Secret Drawings of Jacqueline Kennedy: New works by Russian artist Pavel Pepperstein Marc Selwyn Fine Art Works on paper by Lee Bontecou and Jay DeFeo Susan Sheehan Gallery Postwar prints and works on paper by Willem de Kooning, Jasper Johns, Barnett Newman, and Brice Marden Manny Silverman Gallery Celebration of the gallery’s 30th anniversary with works by Norman Bluhm, Paul Bury, Willem deKooning, Sam Francis, Michael Goldberg, Adolph Gottlieb, Alfred Leslie, David Smith, Bradley Walker Tomlin, Andy Warhol, and others Sperone Westwater Works by Arman from 1960–70 Leslie Tonkonow Time/Trace/Site: Works from 1969–81 by Michelle Stuart Artworks + Projects Van Doren Waxter Major prints by Richard Diebenkorn from the Ocean Park series Meredith Ward Fine Art Exploration of the 1930s Abstraction-Creation movement in Paris, through works by artists in the movement and those influenced by it Washburn Gallery Works on paper by Jackson Pollock, largely from the 1940s Michael Werner Drawings by modern masters including Joseph Beuys, Francis Picabia, Puvis des Chavannes, and Kurt Schwitters, alongside works by contemporary artists Peter Doig, Sigmar Polke, James Lee Byars, Enrico David, and Hurvin Anderson Pavel Zoubok Gallery Important works by Sari Dienes, Addie Herder, and Stella Snead David Zwirner New paintings by Chris Ofili
About the ADAA The Art Dealers Association of America (ADAA) is a nonprofit membership organization that supports the economic and cultural contributions of the nation's leading fine art galleries. The ADAA includes 180 members from more than 25 cities in the U.S., representing hundreds of established and emerging artists internationally. ADAA members have extensive expertise across primary and secondary markets, and established reputations for upholding the best practices in the field. The ADAA serves as a resource and advocate, raising awareness of dealers’ critical roles in the international art market and the cultural community.
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
The ADAA is dedicated to promoting a holistic understanding of the art market’s participants and activities, and is a leader on issues pertaining to connoisseurship, scholarship, ethical practice, and public policy. The ADAA’s position is further enhanced by its Appraisal Service, which has valued works of art for donation, estate, gift tax, and insurance for over 50 years, and represents a depth of art historical and market knowledge. Further, the ADAA Foundation, supported by donations from ADAA members, encourages the appreciation of art and art history through its support of curatorial research and exhibition development. www.artdealers.org
About Henry Street Settlement Founded in 1893 by social reformer Lillian Wald and based on Manhattan’s Lower East Side, Henry Street Settlement delivers a wide range of social service, arts, and health care programs. Henry Street challenges the effects of urban poverty and homelessness by helping to improve the lives of more than 60,000 New Yorkers each year. Complementing its social mission is Henry Street’s award- winning Abrons Arts Center, which provides artists with performance, exhibition, and residency opportunities as well as promotes access to the arts through educational and engagement programming. www.henrystreet.org
About AXA Art Americas Corporation International reach, unrivaled competence, and a high quality network of expert partners distinguish AXA Art, the only art insurance specialist in the world, from its generalist property insurance competitors. Over the past 50 years and well into the future, AXA Art has and will continue to redefine the manner in which it serves and services its museum, gallery, collector, and artist clients, across Asia, Americas, and Europe, with a sincere consideration of the way valuable objects are insured and cultural patrimony is protected. For assistance, please contact Rosalind Joseph, Public Relations, The Americas, by telephone (718.710.5181) or email ([email protected]). www.axa-art-usa.com
Press Inquiries: ADAA Resnicow and Associates Grace Boyd-Pollack Barbara Escobar /Arden Shwayder 212.488.5535 212.671.5174 / 212.671.5172 [email protected] [email protected]
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 THE ART SHOW
David Nolan Gallery Jeffrey H. Loria & Co., Inc. Gavin Brown’s Galerie St. Etienne Hosfelt Gallery Michael Rosenfeld Adler & Conkright June Kelly Gallery Leslie Tonkonow Brooke Alexander, Inc. enterprise Gallery, LLC Fine Art Artworks + Projects
A5 A7 A9 A11 A13 A15 A17 A19 A21 A23 Menconi + Schoelkopf Fine Art, LLC
Hans P. A25 Kraus Jr. Inc. 303 Gallery James Cohan Pace Prints & Rhona Hoffman Gallery Donald Morris Gallery, CRG Gallery Pace Primitive Inc. Kohn A3 Mary-Anne A4 A6 A8 A10 A12 A14 Fraenkel Gallery Martin/ Gallery Fine Art Matthew Marks Gallery Alexander and Bonin Locks Gallery Van Doren Waxter Sperone Westwater Crown Point Press A27 A2 B3 B5 B7 B9 B11 B13 A16 Salon 94 Emergency Exit
A1 Jill Newhouse Luhring Augustine Peter Freeman, Inc. Michael Werner Washburn Gallery Yossi Milo Gallery Hirschl & Adler Modern Gallery
Susan A28 Park Avenue Paula B2 B4 B6 B8 B10 B12 Cooper Sheehan Entrance Gallery Gallery Marc Selwyn Fine Art Richard Gray Gallery Mnuchin Gallery Galerie Lelong Fergus McCaffrey Barbara Krakow Gallery P • P • O • W Pilkington- B1 C3 C5 C7 C9 C11 C13 B14 Olsoff Fine Arts, Inc. D29 Marian Goodman Emergency Exit Gallery David Zwirner James Goodman Gallery Sean Kelly Gallery Barbara Mathes Gallery Hauser & Wirth Manny Silverman Gallery
D2 Anthony C2 C4 C6 C8 C10 C12 Cheim & Meier Read Casey Fine Arts Pace Gallery Alexander Gray Tanya Bonakdar Gallery Peter Blum Gallery Pace/MacGill Gallery Maxwell Davidson Kaplan Associates Gallery James Reinish & C1 D3 D5 D7 D9 D11 D13 C14 D28 Associates, Inc.
D4 Lehmann Maupin Berggruen Gallery Bortolami Thomas Colville James Fuentes Inman Gallery Paul Kasmin Gallery Meredith Ward Pavel Zoubok Julie Saul Gallery Petzel Fine Art Fine Art Gallery
D6 D8 D10 D12 D14 D16 D18 D20 D22 D24 D26
About the Art Dealers Association of America
The Art Dealers Association of America (ADAA) is a non-profit membership organization that supports the economic and cultural contributions of the nation's leading fine art galleries. The ADAA includes 180 members from 28 cities in the U.S., representing thousands of established and emerging artists internationally. ART DEALERS ADAA members have extensive expertise across primary and secondary markets, ASSOCIATION OF AMERICA and established reputations for upholding best practices in the field. The ADAA 205 Lexington Avenue, Suite #901 serves as a resource and advocate, raising awareness of dealers’ critical roles in the New York, NY 10016 international art market and the cultural community. [email protected] www.artdealers.org tel: 212.488.5550 Founded in 1962, the ADAA is a leader on issues pertaining to connoisseurship, fax: 646.688.6809 conservation, scholarship, ethical practice, and public policy. Its members contribute
#TheArtShowNYC to art historical scholarship through research, publications, and exhibitions; by nurturing new artistic talent; and by engaging diverse audiences with a spectrum of art from the extraordinary work of Old Masters through the most important artists working today. At the forefront of ideas and innovations in the field, ADAA members spur the creative economy and contribute to the vitality of their communities. The ADAA provides a platform for members, and the broader professional arts community, to engage in active dialogue on timely issues facing the cultural field.
Throughout the year, the ADAA hosts professional lectures, discussions, and forums, and its members host and participate in a wide range of private and public events. The ADAA’s activity culminates annually in The Art Show, held at the historic Park Avenue Armory each March in support of the Henry Street Settlement. The fair, an integral part of New York City’s Arts Week, offers collectors, arts professionals, and the public the opportunity to engage with an incredible range of artworks through thoughtfully curated solo exhibitions and group shows.
Intimately scaled to encourage conversation with experts on the floor, The Art Show features 72 galleries drawn from the ADAA’s membership and selected through a curatorial submission process. The selection criteria ensure that each year The Art Show will showcase a diverse mix of artists, genres, periods, and geographies, inviting visitors to experience premier works from established names as well as those new to the market. Committed to providing a leisurely viewing experience that will appeal to both the seasoned and young collector, The Art Show offers a singular moment of respite during the flurry of March fairs and auctions. Now in its 29th year, The Art Show has become synonymous with connoisseurship and expertise, underscoring the importance of the one-to-one connections between visitor, gallerist, and artwork.
The ADAA is further distinguished by its Appraisal Service which has been valuing works of art for donation, estate, gift tax and insurance for over 50 years. The department’s four appraisers have a depth of art historical and market knowledge, and they are known for their personalized service to their clients, guiding them
through the valuation process. With the expertise of the ADAA membership available to the department, it has achieved an exceptional track record in appraising work from Old Master paintings to contemporary installations.
A well-established leader in the field, the ADAA is engaging in the issues most essential to the continued success of the industry. In 2012, the ADAA established the ADAA Relief Fund to support galleries and non-profit arts organizations affected by Hurricane Sandy, providing grants to help repair facilities and to encourage an expedient return to operations.
Additionally, the ADAA Foundation, a distinct but connected entity, was established in 1971 to encourage and promote the appreciation of art and art history through its support of vital scholarship and curatorial research. Generously funded by donations from ADAA member galleries, the Foundation has distributed grants to museums, archives, and arts organizations around the country to advance art historical research and exhibition development.
The ADAA is dedicated to promoting a holistic understanding of the art market’s participants and resources, and to supporting the vital activity of dealers within this community. Its leadership engages in pending legislation, legal matters, and international trade policies, representing the voices of its members in setting ethical business standards and practices.
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
Art Dealers Association of America Leadership
Adam Sheffer, President of the ADAA
Adam Sheffer brings 25 years of experience in the art world to his role as President of the ART DEALERS Art Dealers Association of America, having ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 served in the organization’s leadership and on New York, NY 10016 various committees since 2005. He has been [email protected] a member of the ADAA Board of Directors www.artdealers.org since 2009, as well as Chair of The Art Show, tel: 212.488.5550 fax: 646.688.6809 the nation’s most respected and longest running art fair, organized annually by the #TheArtShowNYC ADAA in New York City. Appointed ADAA’s Vice President in 2013, he has also Photo by Luke Fontana served for the past ten years on various ADAA committees, including the Executive Committee (2013–present), the Strategic Planning Committee (2011–present), and the Public Relations Committee (2005–2009).
As Partner and Sales Director at Cheim & Read since 2003, he has expanded the gallery’s scope of representation, adding artists such as Ghada Amer, Chantal Joffe, Tal R, and Sean Scully. Prior to Cheim & Read, Sheffer was a Director for three ADAA members, Robert Miller Gallery, Danese Gallery, and Mary Boone Gallery, where he began his gallery career as an assistant to Mary Boone in 1994.
Sheffer is currently Associate Producer for Lady Painter, a film based on the novel by Patricia Albers about the art and life of Joan Mitchell, and is co-editor of the book Alice Neel: Paintings from the Thirties with Wayne Koestenbaum. In 2014, Sheffer was named a benefactor of the Museum of Fine Arts Boston, where he first encountered art during his childhood in Boston. He received a B.A. in art history from Vassar College, where he also studied archaeology.
Anthony P. Meier, Jr., Vice President of the ADAA, Chair of The Art Show
Appointed Vice President of the ADAA in 2015, this year also marks Anthony Meier’s second as the Chair of the ADAA’s annual Art Show—the nation’s most- respected and longest-running art fair. An ADAA member since 2002, he has served in the organization’s leadership and on The Art Show Committee since 2007.
In 1984, Meier established Anthony Meier Fine Arts in San Francisco, CA, as a private gallery focused on the
secondary market. Working with both public and private collections, Meier specializes in post– World War II contemporary masters. In 1996, Anthony Meier Fine Arts opened a public gallery space in San Francisco, which mounts five shows per year dedicated to emerging and mid-career artists, such as Teresita Fernández, Richard Hoblock, Zoe Leonard, and Jim Hodges. Prior to founding his own gallery, Meier was the Print Curator at the Fogg Art Museum of Harvard University, where he also received B.A. in art history and a minor in French.
With over 30 years of experience, Meier is a significant leader in the art world—currently serving on the National Boards of the Meadows School of the Arts, Southern Methodist University; the Blanton Art Museum University of Texas, Austin; and Carlos Museum of Art, Emory University; as well as serving on the Frieze Masters Selection Committee since 2011, and as the Texas Board Vice President of the Chinati Foundation, Marfa, since 2013.
ADAA Board of Directors Adam Sheffer, President Anthony Meier, Vice President Frances Beatty, Vice President Susan Dunne, Vice President
Justine Birbil Valerie Carberry Maxime Falkenstein Jeanne Greenberg Rohatyn Fredericka Hunter Bo Joseph Barbara Krakow Barbara Mathes Wendy Olsoff Andrew Schoelkopf Alexandra Schwartz Manny Silverman Jacqueline Tran Meredith Ward
Ex Officio Ex-Presidents Eugene V. Thaw William R. Acquavella James N. Goodman Richard Gray Richard Solomon Roland J. Augustine Lucy Mitchell-Innes Dorsey Waxter
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016
Administration Linda Blumberg, Executive Director Patricia L. Brundage, Deputy Director Susan L. Brundage, Director of Appraisal Services Grace Boyd-Pollack, Administration and Program Coordinator Nicole Casamento, Social Media Manager and Community Outreach Coordinator Nicole Castaldo, Appraisal Associate Jo Backer Laird, Counsel Gilbert S. Edelson, Counsel Emeritus
ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 Download hi-res images at: http://bit.ly/2kSTTPW THE ART SHOW THE ART SHOW 2017 HIGHLIGHTS
303 GALLERY BROOKE ALEXANDER, INC. BOOTH A4 BOOTH A23 Rodney Graham Minimalist, Geometric, and Abstract Artists 303 Gallery is pleased to pres- Brooke Alexander will present a variety ent a solo exhibition by Rodney of work by minimalist, geometric, and Graham. One wall is dedicated abstract artists, including Josef Albers, to Antiquarian Sleeping in His Richard Artschwager, John Baldessari, Shop (2017), a photographic Donald Judd, and Ken Price. Each of these lightbox triptych inspired by artists have created groundbreaking work antique stores in Vancouver, throughout their distinguished careers, where the artist lives and works. This tableau centers on a bohe- working in a number of different mediums. mian shop owner (Graham in character), dozing off with a book Our exhibition presents their woodcuts, in hand among his curated displays. Alongside the lightbox hang lithographs, and three-dimensional works. several of the paintings seen within the fictional shop, creating a Donald Judd. Untitled (#251–254), 1991–94. Set of four woodcuts bridge between the Antiquarian’s world and our own. printed in French ultramarine blue on Japanese laid paper Mitsumata, 1 1 Rodney Graham. Antiquarian Sleeping in His Shop, 2017. Three painted aluminum 26 ⁄4 × 38 ⁄2 in. Edition of 15 (estate stamped). Published by Brooke 5 3 lightboxes with transmounted chromogenic transparencies, 108 ⁄8 × 218 ⁄4 × 7 in. Alexander Editions, New York Edition of 3. © Rodney Graham. Courtesy 303 Gallery, New York
ALEXANDER AND BONIN BERGGRUEN GALLERY BOOTH B5 BOOTH D6 Michael Buthe Selected Works Michael Buthe’s work was widely exhibited through- In celebration of Berggruen Gallery’s 29th year out Germany from 1968 until his death in 1994. His of participating in The Art Show, we are pleased work was included in the seminal 1969 exhibition to present a survey of paintings and drawings When Attitudes Become Form: Live in Your Head by Willem de Kooning, Richard Diebenkorn, and four Documenta exhibitions. In 2015–16, the Helen Frankenthaler, Ellsworth Kelly, David Park, Kunstmuseum Luzern, S.M.A.K., Ghent, and Haus and Wayne Thiebaud—artists who have all der Kunst, Munich, presented a major retrospective been important parts of our story and history of Buthe’s work. Alexander and Bonin will present a in San Francisco. selection of works Buthe created between the late Willem de Kooning. Untitled, c. 1967. Oil on paper laid down 3 7 1960s and early 1990s. Materiality, extensive mark on Masonite, 28 ⁄4 × 22 ⁄8 in. Courtesy Berggruen Gallery, making, saturated color, and use of found objects San Francisco appear throughout the work. Michael Buthe. Torro, 1992. Mixed media, horns, and stone 1 1 1 on canvas, 16 ⁄2 × 12 ⁄4 × 2 ⁄2 in. Photo by Jason Mandella. Courtesy Alexander and Bonin, New York
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PETER BLUM GALLERY BORTOLAMI BOOTH D9 BOOTH D8 Louise Bourgeois Nicolás Guagnini and Caitlin Keogh Peter Blum Gallery presents a solo exhibition of early Bortolami is pleased to present sculptures by Nicolás and rare works by Louise Bourgeois. The exhibition will Guagnini and paintings by Caitlin Keogh. The booth will feature an important group of drawings and paintings highlight the artists’ shared fascination with classical from the late 1940s and early 1950s that display some depictions of bodies and the way they are inscribed of the earliest manifestations of themes and motifs with power. The palettes, patterns, and precision of that have been prevalent throughout her oeuvre: arch- Keogh’s paintings belie their veiled threats. Headless itecture and memory, sexuality and fragility, trauma torsos, silkworms, and ropes allude to a darkly ironic and complex emotion. The works, most of which take on the feminine. In Guagnini’s exquisitely glazed have rarely been publicly shown, are inhabited by ceramic sculptures, severed phalli, ears, noses, hands, abstracted portraits and landscapes inspired by and feet pile up as the lost parts of Greco-Roman Bourgeois’s childhood home in the Creuse region statuary. These two artists challenge politically correct of central France. assumptions of gender and representation, proposing Louise Bourgeois. Untitled, 1945. Oil on canvas, 40 × 24 in. a disquieting fluidity. 1 Courtesy Peter Blum Gallery, New York Nicolás Guagnini. Ulysses, 2016. Vitrified glazed ceramic, 21 ⁄4 × 16 × 8 in.
TANYA BONAKDAR GALLERY GAVIN BROWN’S ENTERPRISE BOOTH D7 BOOTH A9 Olafur Eliasson Rirkrit Tiravanija Tanya Bonakdar Gallery is pleased to announce Gavin Brown’s enterprise presents a solo a solo presentation of new works by Olafur Eliasson. installation by Rirkrit Tiravanija. Since the early Described by the artist as “devices for the experi- 1990s, Tiravanija has become well-known for ence of reality,” his works prompt a greater sense his unique approach to art-making, premised of awareness about the way we engage with and on the interaction and exchange encouraged interpret the world. Among the works on view is a between participants in his installations. major new sculptural work made by casting concrete His work has since continued to emphasize around glacial ice. Large openings in the concrete’s social and political engagement above all, smooth surface reveal a mesmerizing landscape with the gathering and communion of people that embodies the memory of the now-melted ice, underlined as the most radical and vital of which is vividly present in its absence. A series of gestures. Born in Argentina in 1961, Tiravanija watercolors created with fragments of the melting currently lives between New York City, Berlin, glacial ice will also be on view. and Chiang Mai. Olafur Eliasson. The seven days soft power took over (Friday), 2016. Watercolor, Indian ink, and Rirkrit Tiravanija. untitled 2015 (don’t shoot the messenger), 1 1 pencil on paper, 29 ⁄2 × 21 ⁄4 in. (framed). Courtesy the artist and Tanya Bonakdar Gallery, New York 2015. Courtesy the artist and Gavin Brown’s enterprise, New York / Rome
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CHEIM & READ THOMAS COLVILLE FINE ART BOOTH C14 BOOTH D10 Bill Jensen George Inness: Cheim & Read is pleased to present Master of the American Landscape a new suite of paintings by Bill Jensen, Thomas Colville Fine Art presents George Hushed Mountains. Jensen’s Hushed Inness: Master of the American Landscape, Mountains, which belong to the artist’s an exhibition tracing the artistic development acclaimed series of “dark paintings,” of this important artist’s work with paintings are inspired by a lifelong obsession with from the 1860s through the 1890s. George Eastern philosophy and poetry, Chinese Inness (1825–94), originally famous for landscape painting, the visionary paintings expanding the vocabulary of the Hudson of Albert Pinkham Ryder, and a recent River School topographical landscape through his introduction of painterly French Barbizon sojourn to the Swiss Alps in Ticino. techniques, was later celebrated for his soft, light-infused, poetic suggestions of nature. Bill Jensen. HUSHED MOUNTAINS III, 2015–16. Inness was ultimately concerned with evoking rather than transcribing the landscape through Oil on linen, 32 × 25 in. his suggestive representations of skies, trees, and hillsides. Unique among American land- scape painters, he continued to expand this vision throughout his long career in an effort to embody the spiritual essence of nature. George Inness. A June Day, 1881. Oil on canvas, 24 × 30 in.
JAMES COHAN PAULA COOPER GALLERY BOOTH A6 BOOTH B1 Scott Olson Kelley Walker James Cohan presents a solo exhibition Paula Cooper Gallery presents new work by Kelley of new paintings by Ohio-based artist Scott Walker, which employs both analog and digital tech- Olson. This new body of work reflects the nologies to explore the ubiquity and consumption centrality of material production and trans- of images. For his new Screen to Screen paintings, formation in his practice, which stems from Walker silkscreens a montage of elements onto large his interest in science, alchemy, and the silkscreens stretched over wood or aluminum frames. power of physical properties to direct the Within this blurring of the distinction between the tool outcome of a composition. Through an of painting and its support, the artist embeds images intensive process of layering and removing relating to music, advertising, graffiti, brick walls, glazes, masking and scraping, Olson’s and other abstract elements from his own visual idiom. composition becomes a performative index of its own making to which the viewer The work extends beyond the picture plane through becomes witness. This presentation of his work will coincide with Olson’s first solo its porous mesh fabric to create a transient and exhibition with James Cohan at the gallery’s Lower East Side location. shifting optical narrative.
5 3 Scott Olson. Untitled, 2016. Oil on linen, cherry frame, 23 ⁄8 × 25 ⁄4 × 1 in. Kelley Walker. Cardboard, Corbusier Red, Abuse of an Image, 2016. Acrylic ink and cardboard on silkscreen on aluminum frame, 64 × 42 in. © Kelley Walker. Photo by Steven Probert. Courtesy Paula Cooper Gallery, New York
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CRG GALLERY MAXWELL DAVIDSON GALLERY BOOTH A14 BOOTH D13 Alexandre da Cunha Sam Messenger CRG presents a single-artist booth by Brazilian Each of Sam Messenger’s Horizon paintings artist Alexandre da Cunha. Da Cunha’s artistic are wholly unique, but all contain a “horizon” practice is in the selection, editing, and presen- device. A horizontal line emerges from the tation of objects and materials gleaned from the sprawling triangular mesh, a culmination of quotidian landscape. Embedded in his works short marks that form an apparently straight are cross-readings of contemporary traditions line, bisecting the field of view. Above and including the Brazilian neo-concrete movement, below, it can be read with innumerable con- Brazilian modernist architecture, and international notations both subjective and literal. The line arte povera. The result is a visual language that forms where both sides meet—not calculated, breaks conventional systems of classification. but controlled with care and precision. The For The Art Show 2017 da Cunha will produce works are arranged and hung to this register a new body of work comprised of both wall- and point, bringing significance to the content and floor-based sculptures. execution of the work, over their size or form. Alexandre da Cunha. Kentucky (pink), 2016. Mop heads, dye, Sam Messenger. HR.15.16, 2016. Ink and synthetic polymer 1 1 15 1 metal fittings, 78 × 45 ⁄4 × 6 ⁄4 in. Courtesy the artist and paint on paper, 64 ⁄16 × 59 ⁄16 in. Courtesy the artist and CRG Gallery, New York Davidson Contemporary, New York
CROWN POINT PRESS FRAENKEL GALLERY BOOTH B13 BOOTH A16 Women of (New) Abstract Painting Elisheva Biernoff Charline von Heyl talks about “our slapstick eter- Until this year Fraenkel Gallery has never before focused nal now,” and adds, “I like obliterating things.” on a virtually unknown artist for The Art Show, but the work Jacqueline Humphries says, “If destabilization of Elisheva Biernoff has occasioned such a decision. The isn’t your content, it’s at least something that’s one-person presentation, consisting of approximately ten always present.” Tomma Abts says, “I’m not inter- 4 by 4–inch paintings of photographs, is a survey of Biernoff’s ested in translating something onto the canvas.” work over the last three years, and it will be accompanied by Etchings by three women painters exploring insta- a publication. Biernoff’s paintings are based on anonymous bility and abstraction are exhibited at the Crown photographs of strangers and pay close attention to the Point booth. Crown Point is celebrating its 55th overlooked and undervalued. To create her extraordinarily anniversary in 2017. precise objects the artist first finds snapshots of domestic Tomma Abts. Untitled (big circle), 2015. Color aquatint, scenes and anonymous people. The photographs all share 3 3 22 ⁄4 × 16 ⁄4 in. Edition of 20. Published by Crown Point Press a distinct interest in aspects of relationships between human beings and their environments. With near superhuman patience and precision, Biernoff creates simulated artifacts made to the exact scale of the original photographs.
1 Elisheva Biernoff. Vision, 2016. Acrylic on ⁄32-inch plywood, painted on both sides, and handmade poplar stand, 1 1 5 ⁄8 × 3 ⁄2 in. (painting), 6 × 8 in. (overall). © Elisheva Biernoff. Courtesy Fraenkel Gallery, San Francisco
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PETER FREEMAN, INC. GALERIE ST. ETIENNE BOOTH B4 BOOTH A11 Seriality and Repetition Die Brücke and the Birth of Peter Freeman, Inc. presents a booth exploring Espressionism seriality through artworks in pairs and dupli- The Galerie St. Etienne presents cates, and the varying ends to which artists a selection of major works by artists use the tactic of repetition. We are exhibiting associated with the North German both historical and contemporary works in Brücke (Bridge) group. Founded in a variety of mediums by artists including Dresden in 1905, Die Brücke was Mel Bochner, Jan Dibbets, Agnes Martin, the first of several artists’ groups Catherine Murphy, Hiram Powers, Gerhard responsible for developing the style Richter, Thomas Schütte, and Richard Serra. that would later come to be known Thomas Schütte. Basler Maske (No. 28), 2014. as expressionism. Considering themselves a “bridge” to the future, the 5 9 1 Glazed ceramic, 13 ⁄8 × 9 ⁄16 × 7 ⁄8 in. artists used bright colors and expressively distorted forms to explore the emotional underpinnings of modern life. Featured artists will include Erich Heckel, Ernst Ludwig Kirchner, Otto Mueller, Emil Nolde, Max Pechstein, and Karl Schmidt-Rottluff. Erich Heckel. Ostende, 1916. Watercolor and gouache on 1 5 heavy off-white wove paper, 16 ⁄8 × 22 ⁄8 in.
JAMES FUENTES JAMES GOODMAN BOOTH D12 GALLERY Noam Rappaport and Tamuna BOOTH C4 Sirbiladze American and European Modernism, James Fuentes is pleased to present Postwar, and Contemporary Art Noam Rappaport (born 1974, lives This exhibition showcases American and works in Los Angeles) and and European modernism, as well Tamuna Sirbiladze (born in the as works by celebrated postwar and Republic of Georgia in 1971 and contemporary artists. The breadth died in Vienna 2016) in its debut and depth of this show demon- presentation as an ADAA member strates important conceptual and at The Art Show. formal influences of one generation Noam Rappaport. Untitled (Blue and Green of artists on another. Featuring Door Form), 2011. Wood, canvas, oil, wax, works by Calder, Dubuffet, Gottlieb, 3 and colored pencil, 83 × 27 × ⁄4 in. Katz, Lichtenstein, Miro, Matisse, Picasso, Warhol, and many others. Roy Lichtenstein. Forms in Space III, 1991. Printed paper collage mounted on board, 1 1 4 ⁄4 × 6 ⁄4 in. © Estate of Roy Lichtenstein
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MARIAN GOODMAN GALLERY RICHARD GRAY GALLERY BOOTH D2 BOOTH C5 Ettore Spalletti Evelyn Statsinger Ettore Spalletti was born in Cappelle Richard Gray Gallery presents a solo exhibition of work by sul Tavo (Pescara) in 1940, where he Evelyn Statsinger (1927–2016). The installation features currently lives and works. He began his a series of inventive and technically marvelous photograms, career when arte povera was revolution- three rare copper and brass wire constructions, and a large- izing visual culture in Italy and beyond. scale and endlessly detailed ink drawing. Concentrating Spalletti’s formal vocabulary has always on the early years of her production, from 1948–52, our melded and balanced painting and Statsinger exhibition evidences the strong influence of sculpture, form and color, interior and Surrealism on Chicago artists of her generation, particularly exterior space. Each work is the result that of Jean DuBuffet. It is with the works in our presentation of a meditative but rigorous process of that Statsinger initially rose to prominence, catching the applying a layer of color at the same time of each day, to capture a specific tone that recalls attention of luminaries and curators in Chicago, New York, an hour, a season, and the weather. The final surfaces emerge only at the end of the process and Los Angeles. A catalogue of Statsinger’s work will through gently sanding the accumulated layers, a caress that reveals both an interior luminosity accompany the installation, featuring an introduction by Dan Nadel.
1 5 and an external skin that breathes a range of tonal and textural variations. Evelyn Statsinger. Untitled, 1948. Photogram, 5 ⁄4 × 3 ⁄8 in. Photo by Tom Van Eynde. Ettore Spalletti. Aurora, 1974. Photo by Werner J. Hannappel. Courtesy the artist and Marian Goodman Gallery, New York Courtesy Evelyn Statsinger Cohen Trust and Richard Gray Gallery, Chicago
ALEXANDER GRAY ASSOCIATES HAUSER & WIRTH BOOTH D5 BOOTH C10 Luis Camnitzer: Arshile Gorky: The New York Graphic Workshop Years Nighttime, Enigma, and Nostalgia Alexander Gray Associates presents Hauser & Wirth presents a selection a curated installation of graphic work of drawings by the great American by Luis Camnitzer (b.1939), produced painter Arshile Gorky. The drawings during his time with the New York on display at the booth are from Graphic Workshop (1964–70). The his series Nighttime, Enigma, and graphic work and conceptual framing that Nostalgia, a theme which occupied Camnitzer generated during these years the artist for two or three years were groundbreaking as he expanded during the early 1930s. These com- the traditional definition of printmaking and began incorporating language as his primary positions consist of predominantly geometrical forms, reworked and reinvented medium. The selection of works on view convey the ideas Camnitzer developed during obsessively, so that a group of relatively simple images resulted in a large variety a key historical moment when conceptual artistic experiments were flourishing in North of finished works. Neither cubist nor surrealist, these drawings add a personal and South America that would cement his practice and position him as a leading figure and powerful contribution to both movements.
1 1 in 1960s conceptualism. Arshile Gorky. Nighttime, Enigma & Nostalgia, 1931–32. Pen, ink, and wash on paper, 13 ⁄4 × 20 ⁄2 in. 3 3 3 Luis Camnitzer. Topological Change of a Word Sequence, 1969 / 1990. Felt pen, vinyl glue, and paper, 3 ⁄8 × 6 ⁄4 × 5 ⁄4 in. © Arshile Gorky Foundation. Courtesy the Foundation and Hauser & Wirth, New York © 2017 Luis Camnitzer / Artists Rights Society (ARS), New York. Courtesy Alexander Gray Associates, New York
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HIRSCHL & ADLER MODERN HOSFELT GALLERY BOOTH B12 BOOTH A13 Elizabeth Turk Liliana Porter Hirschl & Adler Modern presents Dialogue in Stone, a monographic Hosfelt Gallery presents a solo exhi- exhibition of work by California- and New York-based sculptor bition of the work of Argentinian-born, Elizabeth Turk. Turk is internationally recognized for transforming New York-based artist Liliana Porter. her signature medium of marble into strikingly intricate objects Featuring a selection of drawings, that defy convention and challenge our preconceptions of what photographs, sculpture, and prints marble can do. Through the use of electric grinders, dental tools, spanning the last 40 years, the exhibi- and files, Turk pushes her medium to its limit, creating in each tion examines the ways in which Porter sculpture a provocative tension between the intrinsic strength disrupts our notions of the meaning of the stone and its inherent fragility, while speaking to larger and function of time. Known for her conceptual and spiritual concerns of time, matter, and space. humorous juxtapositions of trinkets, As a series-based artist, Turk has always shown one single, cohesive project at a time. toys, and figurines from different eras and cultures, Porter challenges the proposition that Dialogue in Stone will mark the first time that Hirschl & Adler presents new work alongside time is linear and reality graspable. Porter’s work is in numerous museum collections world- important examples set aside from each of Turk’s seminal bodies of work exhibited by the wide, including the Whitney Museum of American Art, the Metropolitan Museum of Art, and gallery: The Collars (2006), Ribbons (2008), Cages (2012), Script (2014), and Tensions (2015). the Museum of Modern Art, New York.
1 Elizabeth Turk. Script: 165, 2017. Marble, 48 × 8 × 8 in. Photo by Eric Stoner. Courtesy the artist and Hirschl & Liliana Porter. To Fix It II (round clock), 2016. Metal clock and figurine on painted shelf, 6 × 12 × 10 ⁄4 in. Adler Modern, New York Courtesy Hosfelt Gallery, San Francisco
RHONA HOFFMAN GALLERY INMAN GALLERY BOOTH A10 BOOTH D14 Built Place, Natural Space: Artists Dorothy Antoinette (Toni) LaSelle Working with Their Environment Inman Gallery presents a solo booth by the Rhona Hoffman Gallery presents an under-recognized Texas modernist Dorothy exhibition featuring artists who are Antoinette (Toni) LaSelle (1901–2002). The booth influenced and inspired by space, will comprise a selection of 12 paintings, along place, and architecture. Since with several works on paper from 1946 to 1956, 1976 Rhona Hoffman Gallery has which was the pivotal decade in her long career. exhibited artists whose practices Inman Gallery is thrilled to bring LaSelle’s work respond to and reimagine their back to New York 67 years after her only solo surrounding environment, and the exhibition there. We will be including several paint- gallery’s interest in architecture and ings and works on paper which were included in space has remained steadfast. the Rose Fried exhibition in June 1950. Richard Tuttle. Rose Even, 1990. Watercolor on paper Dorothy Antoinette (Toni) LaSelle. Untitled #11 (March 1), in golden frame, 14 × 20 in. (framed). Courtesy the 1946. Charcoal on paper, 25 × 19 in. artist and Rhona Hoffman Gallery, Chicago
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CASEY KAPLAN JUNE KELLY BOOTH D28 GALLERY Sarah Crowner BOOTH A19 Casey Kaplan is pleased to present a solo presen- Kay WalkingStick tation by Sarah Crowner (b. 1974, Philadelphia). Kay WalkingStick Central to Crowner’s practice is a methodology that is arguably one of concerns spatial arrangement and the construction the most important of pattern and plane. In a stark statement of color American painters and form, Crowner plays here with a singular motif. working today. She paints with sensitivity and assurance to convey what A silhouette—legs or upside-down V shapes— she refers to as the “truth of the subject” and the emotional experience. stretches across the walls, marking time and Through her loose, exuberant brushwork, her use of color and expressive reflecting movement. Inspired by the visual language line, she creates a mood and a sense of the vastness of the land and the of the Russian constructivists and early 20th-century mountains. The paintings call to mind the landscapes of early American costume and stage design, the simple form roams modernists such as Marsden Hartley and Georgia O’Keeffe. WalkingStick from one canvas to the next, mimicking human activity both as traces a path of constant invention and innovation through a fresh personal the primary action of the artist’s cutting, sewing, and painting perspective and dialogue about contemporary American art through visually and the motion of a striding viewer navigating a boundless stage. brilliant and evocative works of art. Sarah Crowner. Legs (Red), 2017. Acrylic on canvas, sewn, 86 × 72 in. Photo by Kay WalkingStick. Aquidneck Cliffs, 2015. Oil on wood panel, 16 × 40 in. Jean Vong. Courtesy the artist and Casey Kaplan, New York
PAUL KASMIN GALLERY SEAN KELLY GALLERY BOOTH D16 BOOTH C6 Lee Krasner Ilse D’Hollander Paul Kasmin is honored to present Sean Kelly presents a solo exhibition a selection of work from Lee Krasner’s of rarely exhibited paintings and works Solstice Series. During the 1980s, on paper by the late Belgian artist Ilse Krasner made 21 collage paintings D’Hollander (1968–97). Created during a that incorporated and re-contextualized very brief period, from 1989 until her tragic fragments of earlier work. Towards suicide at the age of 29, D’Hollander’s the end of her five-decade career, she oeuvre exhibits a highly developed sense continued to push the boundaries of of color, composition, scale, and surface her practice with the Solstice Series, through subtle tones and pared-down revisiting and cannibalizing older works and processes, while demonstrating compositions. Her subtly evocative an acute understanding of language as an integral element of the self. canvases have drawn comparisons to
3 3 Lee Krasner. Buffon’s Parakeet, 1980. Oil and crayon collage on lithograph, 22 ⁄4 × 29 ⁄4 in. work as various as that of early Piet © 2017 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Courtesy of Mondrian, Nicolas de Staël, and Raoul Paul Kasmin Gallery, New York De Keyser—whom she regarded as a peer—but D’Hollander’s work is distinguished by its contemplative tranquility, ethereal quality, and brilliant, deceptive simplicity.
7 3 7 3 3 Ilse D’Hollander. Fraying, 1995. Oil on canvas, 20 ⁄8 × 17 ⁄4 in. (canvas), 21 ⁄8 × 18 ⁄4 × 1 ⁄4 in. (with frame)
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KOHN GALLERY HANS P. KRAUS JR. INC. BOOTH A27 BOOTH A3 Bruce Conner and Tony Berlant Photograms Kohn Gallery presents works by the celebrated Hans P. Kraus Jr. Inc. will exhibit a selection of photo- Californian artists Bruce Conner (1933–2008) and grams from the earliest days of photography as well as Tony Berlant (b. 1941). The booth will highlight both works by contemporary artists inspired by 19th-century artists’ established careers in multimedia art forms photographers. Some of the first photograms ever made, and notoriety from the California art scene since such as William Henry Fox Talbot’s Maidenhair Fern the 1960s. The exhibition of their work side by side (1839), in pastel tones, anticipate modern abstractions. presents a powerful and dynamic visual display of Anna Atkins’s aesthetic sense informed her pioneering how two West Coast / American artists approach use of the cyanotype or blueprint process to illustrate similar themes of collage, complexity, and cultural British Algae (1843–51). Hiroshi Sugimoto’s Lightning nostalgia. Conner became a master of media with Fields (2009) are dynamic camera-less photographs highly prized punk photos, critically important films, depicting electrical charges, influenced in part by Fox Talbot’s research into static elec- meticulous renditions of black-and-white inkblot tricity. Adam Fuss’s refinement of camera-less techniques in his work is a distinctive drawings, and legendary assemblage sculpture. Berlant skillfully employs a dazzling collage reinterpretation of photography’s earliest processes, such as his Butterfly (2009), which technique with printed images on metal cut into a multitude of small pieces; he obsessively is surprisingly both a daguerreotype and photogram.
1 nails them down to create a visually complex assemblage of painting and sculpture. Hiroshi Sugimoto. Lightning Fields 225, 2009. Gelatin silver print, 23 × 19 ⁄2 in. Courtesy Hans P. Kraus Jr. Inc., 3 3 Bruce Conner. WICHITA, 1963. Ink on paper, 23 ⁄4 × 17 ⁄4 in. New York
BARBARA KRAKOW GALLERY LEHMANN MAUPIN BOOTH C13 BOOTH D26 Surface and Seriality Billy Childish Barbara Krakow Gallery presents an exhibition with Lehmann Maupin is pleased works by artists who explore the use of surface and to present a solo exhibition seriality in conceptually based work. The pieces of recent works by British will include examples of classic works by Richard artist Billy Childish, a prolific Artschwager, Robert Barry, Bernd and Hilla Becher, Sol painter, writer, and musician. LeWitt, Allan McCollum, and Richard Serra. Each work The artist’s vivid oil paintings explores issues of repetition and variation through offer fragmented fields juxtaposition, whether through image, form, or texture. of intense color applied The works, made over the last 40 years, serve to frenetically, leaving the balance social, spatial, and formal concerns. preparatory charcoal marks and the linen canvas exposed. Working in traditional genres Richard Artschwager. Pregunta II, 1983. Painted wood in two parts, such as portraiture, still life, and landscape, Childish’s paintings are intuitive, spiritually 1 29 ⁄2 × 11 × 2 in. charged expressions that come from a place of deep personal meaning. Eschewing any hint of postmodern irony in his work, he allows pure personal expression to come to the forefront through a focus on the traditions of painting—color, form, and narrative.
1 1 Billy Childish. edge of wood, 2016. Oil and charcoal on linen, 60 ⁄16 × 96 ⁄16 in. Courtesy the artist and Lehmann Maupin, New York and Hong Kong
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GALERIE LELONG JEFFREY H. LORIA BOOTH C9 & CO., INC. Zilia Sánchez BOOTH A7 Galerie Lelong presents a solo booth of Made in France recent and historical Topología paintings The 19th- and 20th-century by Cuban-born artist Zilia Sánchez. Our painters, sculptors, and presentation will highlight the unique draftsman who worked in, visual vocabulary that Sánchez has devel- created work about, and were oped over the last 60 years—canvases inspired by France will be the stretched into sensual and curved forms focal point of this presentation. over hand-molded wood armatures—while Aristide Maillol. Maquette for Mountain, examining the importance of topology in 1936–37 (1er etat). Unique sculpture in 1 1 her practice. For Sánchez the topology lead, 11 ⁄2 × 5 ⁄8 × 11 in. of her paintings serves as both a mathe- matical and bodily idea. Works in specific series, like the Tatuaje (Tattoo) series, transform the topology by applying a thin gestural line over the minimalistic composition. Others are suggestive of bodily forms and symbolic of feminine strength, such as in the Amazona (Amazon) series.
3 Zilia Sánchez. Topología (de la serie Tatuajes), 1993. Acrylic on stretched canvas, 47 × 46 ⁄4 in. © Zilia Sánchez. Courtesy Galerie Lelong, New York LOCKS GALLERY LURING AUGUSTINE BOOTH B7 BOOTH B2 Gravity and Grace: Robert Motherwell, Josh Smith Pat Steir, Louise Bourgeois, Isamu Noguchi Luhring Augustine presents a solo exhibition of Locks Gallery presents Gravity and Grace, works by Josh Smith. Smith is principally concerned a four-person booth featuring sculptures by with the process of painting rather than the ques- Louise Bourgeois (1911–2010) and Isamu tion of what to paint, so he often chooses a rather Noguchi (1904–88) and paintings by Robert arbitrary motif—his name, a fish, a palm tree— Motherwell (1915–91) and Pat Steir (b. 1938). as a starting point for an abstract composition The selection of works reflects themes of and works in a serial and repetitive manner to motion and syzygy—the “yoking together” create numerous variations. For The Art Show Smith of distant or opposing forces. While each has will present a vibrant new series of small-scale fish pioneered the fields of painting and sculpture paintings; the fish is a recurring motif, partly due during their respective careers, without affilia- to Smith’s love of fishing, but also for the simplicity tion to a particular movement or style, Gravity and Grace brings these four singular artists and dynamism of its form, both of which lend them- together in a lyrical exchange of artworks spanning close to a century—highlighting the selves to his serial kind of practice. aesthetic influences of modernism in 20th-century art, including ties to animism and Josh Smith. Untitled, 2016. Oil on canvas, 48 × 36 in. psychoanalysis, and the interplay of Eastern philosophy and Western formalism. Courtesy the artist and Luhring Augustine, New York Pat Steir. White Splash on Black, Black Splash on White, 2009. Oil on canvas, 84 × 84 in. 10 THE ART SHOW THE ART SHOW 2017 HIGHLIGHTS
MATTHEW MARKS GALLERY BARBARA MATHES GALLERY BOOTH B3 BOOTH C8 Selected Works Painting and the Photographic Image Matthew Marks Gallery presents a dis- Since the 1960s and the proliferation cerning selection of work by the gallery’s of mass media, artists have juxtaposed diverse roster of artists, including Jasper manual and mechanically produced Johns, Ellsworth Kelly, Vija Celmins, images, or conflated them in unstable Robert Gober, Martin Puryear, Charles Ray, syntheses of representation and Anne Truitt, and Brice Marden. abstraction. The artists in this booth Jasper Johns. Untitled, 2015. Monotype on use painting as a platform for 7 Sommerset Velvet Cream paper, 38 × 29 ⁄8 in. experimentation, and photography © Jasper Johns / Licensed by VAGA, New York. as memory aid, mass media fragment, Courtesy Matthew Marks Gallery and compositional foil. Sigmar Polke. Untitled, 1992. Acrylic and gouache 1 5 on paper, 27 ⁄ 2 × 39 ⁄16 in.
MARY-ANNE MARTIN / FINE ART FERGUS MCCAFFREY BOOTH A2 BOOTH C11 35th Anniversary Exhibition Birgit Jürgenssen This year marks the 35th anniversary of Mary- Fergus McCaffrey is pleased to present a solo exhibition Anne Martin / Fine Art, one of the first galleries of works by the Viennese artist Birgit Jürgenssen (1949– in the US to specialize in art from Mexico and 2003). Jürgenssen’s studio practice encompassed drawing, Latin America. Over the past three decades performance, photography, and sculpture, in which she we have watched this niche field expand into compellingly combined classically refined draftsmanship, a global one. Artists who were once considered mixed media, and experimental techniques. While she of local interest only are now receiving curatorial is perhaps best known for her connection to the Austrian attention from prestigious museums around feminist movement of the 1970s, her engagement with surrealism and her concern for the world, including the Museum of Modern Art, materials and processes are equally important. Jürgenssen’s work as a sculptor and New York; Tate Modern, London; Reina Sofia, photographer underscores not only her intense interest in materiality, but also highlights Madrid; and the Centre Pompidou in Paris. To the complexity of her oeuvre. Our booth presentation will feature a group of Jürgenssen’s mark our anniversary Mary-Anne Martin / Fine Art photographic works, presented in combination with a selection of her sculptures. This is exhibiting masterworks by Carrington, Gerzso, juxtaposition underscores Jürgenssen’s refusal of a single approach or influence, and Rivera, Siqueiros, and Tamayo. created work that is abundant in sources and techniques.
3 1 1 David Alfaro Siqueiros. La Patrona, 1939. Duco (pyroxylin paint) on composition board, 29 ⁄4 × 24 in. Birgit Jürgenssen. Houdini, 1990. Black and white photographs and fabric, 47 ⁄4 × 47 ⁄4 in. © The Estate of Birgit Jürgenssen. Courtesy Fergus McCaffrey, New York
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ANTHONY MEIER FINE ARTS YOSSI MILO GALLERY BOOTH C1 BOOTH B10 Larry Bell Marco Breuer and Clare Strand Anthony Meier Fine Arts highlights a singular mon- Yossi Milo Gallery exhibits the work of Marco Breuer umental glass sculpture by Larry Bell. Originally and Clare Strand, two artists who have each inves- commissioned in 1981 by the GE Corporation for tigated photography’s origins, uses, and limitations their global headquarters in Fairfield, CT, Untitled for over 20 years. While distinct in their respective (Wedge) was completed in 1984 and remained practices, what unifies these two artists is their acute on site until the headquarters’ closing in 2016. In that 30-year span, all but one of Bell’s understanding of how photography functions and their outdoor projects were either deinstalled or inadvertently destroyed, leaving Untitled (Wedge) dedication to examining the medium rather than relying as a rare and historic example of Bell’s oeuvre. Untitled (Wedge) is the culmination of Bell’s on its conventions for the affirmation of truth-telling. study of freestanding glass planes placed in relation to one another, an investigation Each exhibits a healthy disrespect for the rules, work- that began in 1972. Questioning our understanding of the nature of visual space and our ing against prescribed methods, inviting chance, and relation to that space, Untitled (Wedge) serves as an agent for the dematerialization of the incorporating a physical, performative aspect into their object. By altering the density of the coating, the glass assumes varying degrees of reflec- work. Both artists have drawn on amateur snapshots, technical images, and evidentiary tion, transparency, and opacity. The viewer’s image appears, disappears, and multiplies, photographs to address the fundamental questions of photographic form and practice. This opening up space where one cannot separate illusion from reality. exhibition showcases the artists’ shared interests yet visually divergent manifestations.
1 3 Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT, in 1984. Marco Breuer. Untitled (C-1787), 2016. Chromogenic paper exposed, embossed, and scraped, 31 ⁄16 × 24 ⁄4 in. Larry Bell. Untitled (Wedge), 1981–84. Glass coated with Inconel, © Marco Breuer. Courtesy Yossi Milo Gallery, New York 69 × 166 × 42 in. Courtesy Anthony Meier Fine Arts, San Francisco MENCONI + SCHOELKOPF DONALD MORRIS GALLERY, INC. FINE ART, LLC BOOTH A12 BOOTH A25 Henri Laurens Sculptures and American Modernism Other Selected Works Menconi + Schoelkopf’s booth presents Donald Morris Gallery is featuring an American modernism, from its first explosion outstanding group of Henri Laurens around the 1913 Armory Show to the early sculptures, which date from the late postwar years. Important modernist examples 1920s to the early 1930s—a seminal by Alfred Maurer will be on view, with mature period in the artist’s cubist evolution, abstract works by Stuart Davis representing in which Laurens embraces an expressive, the end of that continuum. Other paintings monumental classicism. This Laurens and works on paper will represent the Stieglitz presentation will be accompanied by Circle and the American Abstract Artists group, works of Joseph Cornell, Sam Francis, alongside seldom-seen works by other luminaries Jean Dubuffet, Henri Matisse, and Piet like Joseph Stella and Ralston Crawford. Mondrian. Works on paper by Dubuffet, Stuart Davis. Study for “Combination Concrete” No. 2, 1956. Matisse, and Mondrian are important studies for 1 paintings in the Museum of Modern Art, the National Gouache on board, 14 × 10 ⁄ 2 in. Gallery (Washington, DC), and Dallas Museum of Art.
1 Henri Laurens. La Banderole, 1931. Bronze, 14 ⁄ 2 in. (tall)
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JILL NEWHOUSE GALLERY P • P • O • W BOOTH A28 BOOTH D29 Under the Influence: Édouard Vuillard Betty Tompkins and Contemporary Art P•P•O•W is pleased to present a one-person Inspired by Norman Kleeblatt’s 2012 exhibition of rare vintage works by Betty Tomp- article “Strange Bedfellows,” published kins (b. 1945). Over the last few years Tomp- on the occasion of the Vuillard kins’s work has become ubiquitous and heralded exhibition at the Jewish Museum in for its provocative feminist iconography. Our New York, JNG examines the ways in booth installation will display her early 1970s which the art of Édouard Vuillard set works and demonstrate how she navigated the the stage for the art of the 20th–21st male-dominated art movements established by centuries. On view are 25 oils and the pop, conceptual, and minimalist artists that works on paper by Vuillard, seen in were being celebrated at that time. The selected the context of the influence he had on the work of Tina Barney, Lisa Yuskavage,Fairfield works on view exhibit how she used pop iconog- Porter, Howard Hodgkin, and Richard Artschwager. In pairing the work of an historical raphy, the grid, methods of erasure, and text, artist with current work, we hope to illustrate the ways in which an artist’s aesthetic evolves which are still evident in her current work. into that of the next generation’s. Betty Tompkins. Cow Cunt #1, 1976. Acrylic on canvas,
7 7 Édouard Vuillard. Groupe de personnages en conversation, c. 1896. Ink and gouache on paper, 9 ⁄16 × 11 ⁄16 in. 84 × 60 in. Courtesy the artist and P • P • O • W, New York
DAVID NOLAN GALLERY PACE GALLERY BOOTH A5 BOOTH D3 Mel Kendrick and Alexander Ross Thomas Nozkowski David Nolan Gallery is pleased to present a two-person exhi- Continuing its 17-year tradition bition featuring works by Mel Kendrick and Alexander Ross. of dedicating The Art Show’s Each through their preferred media—Kendrick primarily in booth to one artist, Pace Gallery sculpture, and Ross through paintings and drawings— is pleased to present eight new the two artists have developed their own highly individual paintings by Thomas Nozkowski. visual languages. A preeminent American sculptor Nozkowski continues his pro- considered among the leading practitioners in the medium, cess-oriented approach to these Mel Kendrick’s thoroughgoing practice has involved the new paintings, which we last saw use of cast bronze, concrete, and a variety of woods, as in his exhibition Works on Paper well as investigations with cast paper. Kendrick addresses at Pace Gallery in 2016. Reflecting fundamental questions around sculpture: namely, the rela- on specific places and experiences tionship between the object as we experience it and the clearly evident means by which it in his work, Nozkowski translates sensations and memories into abstract forms and was created. Alexander Ross is best known for his biomorphic imagery, wherein modeled gestures that he spends weeks, months, or in some cases years working on. forms suggest molecular ecosystems as viewed through a microscope, or surreal landscapes Thomas Nozkowski. Untitled (9-56), 2016. Oil on linen on panel, 22 × 28 in. Photo by Kerry Ryan McFate. inspired by both high and low sources from Max Ernst to old science fiction B-movies. © Thomas Nozkowski. Courtesy Pace Gallery, New York
3 Mel Kendrick. Blue Holes, 2016. Blue Japan color on wood, 40 ⁄4 × 32 × 4 in. © Mel Kendrick. Courtesy David Nolan Gallery, New York 13 THE ART SHOW THE ART SHOW 2017 HIGHLIGHTS
PACE / MACGILL GALLERY PETZEL BOOTH D11 BOOTH D24 The Use of Line Joyce Pensato Pace / MacGill Gallery will present Petzel Gallery is exhibiting a group of works on paper a multimedia exploration on the by Joyce Pensato, made over the last four decades. The use of line. Featuring work by artist’s earliest extant drawings from 1976—depictions Harry Callahan, Tara Donovan, in charcoal of cartoon heroes—affirm her deep-seated William Eggleston, Robert Frank, interest in cartoon culture and presage Pensato’s now Paul Graham, Richard Learoyd, iconic painterly style. The exhibition’s scope demonstrates Sol LeWitt, Maya Lin, Richard her original focus on anthropomorphic qualities before Misrach, Susan Paulsen, Irving introducing portraiture to her oeuvre from the 1990s, Penn, Michal Rovner, Lucas with mischievous caricatures of Homer Simpson, Donald Samaras, Kiki Smith, Saul Steinberg, Alfred Stieglitz, Duck, and Mickey Mouse, among others. Technological Lee Ufan, and Leo Villareal. The selection on view will mistrust, poignant at the turn of the new millennium, showcase some of the finest examples of photography, is captured in a 1994 series of large-scale enamels on paper of Bart Simpson, depicting an painting, and sculpture while examining the myriad unhinged, over-stimulated visage. Finally, new drawings made specifically for the ADAA booth ways artists have explored and interpreted line. will be on view, shedding light on Pensato’s practice today and as it relates to the last 40 years. Richard Misrach. Untitled, 2008. Archival pigment print mounted to Joyce Pensato. Drawing from Joyce, 1976. Charcoal on paper, 50 × 38 1/4 in. Courtesy the artist and Petzel, New York Dibond. © Richard Misrach. Courtesy Pace / MacGill Gallery, New York
PACE PRINTS & PACE PRIMITIVE JAMES REINISH & ASSOCIATES, INC. BOOTH A8 BOOTH D4 Selected 20th-Century Prints and Making an Art Market: Edith Halpert’s Downtown Masterpieces of African Sculpture Gallery and the Artists of American Modernism Highlights include three rare series of prints: Agnes Edith Halpert opened the Downtown Gallery in Martin’s On a Clear Day (1973), a suite of 30 silkscreens Greenwich Village in 1926. Her pioneering gallery, that the artist created six years into her self-imposed in operation for over 40 years, established or fur- exile in New Mexico; Frank Stella’s Purple Series (1972), thered the careers of many of the leading artists of nine color lithographs relating to the artist’s early stripe the modernist movement. Her innovative marketing paintings; and a set of four color lithographs by Willem and sales techniques, garnered from her highly de Kooning, created in 1986, which reflect the artist’s successful career as a business efficiency expert, late work on canvas. Also on view will be several tech- brought a new, dynamic approach to the gallery busi- nically impressive Usuyuki silkscreens by Jasper Johns ness. Her aesthetic vision, business acumen, and from the 1970s featuring his cross-hatching motif; a group of radiant aquatint portraits fierce independent spirit combined to create a market by Henri Matisse created at the end of the artist’s life; and several color linocut portraits for American modernism. We will be exhibiting works by artists of Downtown Gallery, of Picasso’s wife and muse, Jacqueline. Among the masterpieces of African art will be a including Ault, Bearden, Bluemner, Crawford, Davis, Demuth, Dove, Hartley, Lawrence, fine Dan mask from the Ivory Coast, conveying an ideal of beauty admired by Picasso and Morris, O’Keeffe, Sheeler, Weber, and others.
1 Matisse. Its magnificence lies in the simple yet moving depiction of the human face. Marsden Hartley. A Lady in Laughter, 1919. Oil on board, 23 × 18 ⁄2 in. 1 Dan Mask, 19th century, Ivory Coast. Wood, 7 ⁄4 in. (height). Courtesy Pace Primitive, New York
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MICHAEL ROSENFELD GALLERY, LLC JULIE SAUL GALLERY BOOTH A15 BOOTH D22 Norman Lewis Pavel Pepperstein: The Secret Drawings Michael Rosenfeld Gallery presents a solo of Jacqueline Kennedy exhibition for first-generation abstract expres- Julie Saul Gallery is excited to present the sionist Norman Lewis (American, 1909–79). first American solo show of Russian artist Representing the estate of the artist, the gallery Pavel Pepperstein (born Moscow, 1966) will unveil—for the first time—a selection of paint- with a thematic exhibition of new works ings and works on paper. Known for his socially-conscious calligraphic compositions, Norman especially created for our booth, entitled Lewis was the sole African American artist of his generation who became committed to issues The Secret Drawings of Jacqueline Kennedy. of abstraction at the start of his career and continued to explore them throughout his lifetime. Representing the post-conceptual gener- Lewis’s art derived energy from his vast interests in music—both classical and jazz—as well ation of artists following Ilya Kabakov and as nature, ancient ceremonial rituals, and social justice and equality issues central to the civil his circle, Pepperstein is also a writer and performer. For his American debut Pepperstein rights movement. Recently his art gained national exposure with the traveling survey exhibition has created a story in which a cache of drawings are discovered in Minsk in a house lived in Norman Lewis: Procession, organized by the Pennsylvania Academy of Fine Arts and curated by previously by Lee Harvey Oswald. The extensive text associated with the series is entitled Ruth Fine; this exhibition and its accompanying monograph secured Lewis’s rightful position in “The Shadow of the Scorpion,” a confessional of Jackie’s psychological state as if written by the canon of American art. her following the death of Onassis.
5 Norman Lewis. Orpheus, 1953. Oil on canvas, 29 ⁄8 × 50 in. © Estate of Norman W. Lewis. Pavel Pepperstein. It had to be some silly little communist, 2017. Watercolor and ink on paper, 15 × 11 in. Courtesy Michael Rosenfeld Gallery LLC, New York
SALON 94 MARC SELWYN FINE ART BOOTH A1 BOOTH C3 Huma Bhabha Lee Bontecou and Jay DeFeo Salon 94 presents an installation of cork sculptures, Marc Selwyn Fine Art presents a carefully pastels, and a new portfolio of prints by Pakistan-born selected group of works on paper by Lee artist Huma Bhabha. Huma Bhabha’s work addresses Bontecou and Jay DeFeo that highlight their themes of colonialism, war, displacement, and memo- shared concerns and further illuminate the ries of place. Using found materials and the detritus work of these two icons of the postwar, of everyday life, she creates haunting human figures pre-feminist era. The parallels between the that hover between abstraction and figuration, drawing practices of these two artists are monumentality and entropy. Her materials include remarkable in spite of the geographic dis- Styrofoam, scavenged wood, found metal parts, tance that separated them. Our booth will chicken wire, cork, and air-dried clay, which she fash- explore how shared themes, common imagery, ions into complex assemblages. In her works on paper and certain techniques linked these two Bhabha creates atmospheric portraits, often blending artists in surprising and fascinating ways. animal and human features. Jay DeFeo. Reflections of Africa, 1987. Acrylic, graphite, 3 Huma Bhabha. Belus, 2016. Cork, Styrofoam, acrylic paint, oilstick, and oil pastel on paper, 13 ⁄4 × 11 in. Courtesy the Jay 1 1 and nail polish, 73 ⁄4 × 12 × 24 in. (sculpture), 76 ⁄4 × 36 × 24 in. DeFeo Foundation and Marc Selwyn Fine Art, Beverly Hills (overall). Courtesy Salon 94, New York
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SUSAN SHEEHAN GALLERY SPERONE WESTWATER BOOTH B14 BOOTH B11 Postwar Prints and Works on Paper Arman Susan Sheehan Gallery is exhibiting Sperone Westwater presents works by Arman postwar prints and works on paper, (1928–2005) from 1960 to 1970, continuing featuring especially rare prints by its exploration of the Zero period. Though widely Willem de Kooning, Jasper Johns, known for his later exuberant assemblage works, Barnett Newman, and Brice Marden. Arman was an early participant in the Zero Group, Particularly exciting works include an affiliation stemming from his friendship with botanical drawings by Ellsworth Yves Klein. This presentation includes signature Kelly, a number of exceedingly rare works from this formative decade, including cross-hatching prints by Jasper Johns, and one works in resin and Plexiglas and incorporating of Barnett Newman’s first lithographs, from 1961. diverse materials and mechanical components.
1 1 Jasper Johns. Usuyuki, 1982. Screenprint, 29 ⁄2 × 47 ⁄4 in. Edition The works showcase Arman’s expressive range of 52, plus proofs. Printed by Kenjiro Nonaka, Hiroshi Kawanishi. and his important contributions to the creative Published by Simca Print Artists, Inc. ferment of this period, as well as his ongoing influence on subsequent generations of artists. Arman. Accumulation of Light Bulbs, 1962. Light bulbs 7 in resin, under Plexiglas, 13 × 7 ⁄8 × 2 in.
MANNY SILVERMAN GALLERY LESLIE TONKONOW ARTWORKS BOOTH C12 + PROJECTS 30th Anniversary Exhibition BOOTH A21 This year marks the 30th anniversary Michelle Stuart: Time / Trace / Site: of the Manny Silverman Gallery, and the Works from 1969–1981 gallery will be celebrating that milestone This is the first exhibition to focus on the with visitors to The Art Show. Over these significance of photography in seminal past years our program has been devoted works by the artist. In 1969, inspired by to the works of the postwar abstractionists the Apollo 11 moon landing, Stuart drew of the New York School. The contribution from NASA photographs and incorporated to American art history by these artists them as collage elements in sculpture and works on paper. Her depic- is legendary. As a member of the ADAA tions of the lunar surface led to the “frottage” works of the early 1970s, for more than 20 of our 30 years, we made by rubbing graphite and earth onto paper laid on the ground of have gained a reputation for our exhibiting various locations. Stuart quickly gained international renown for her works of this period. This year will be no exception. We plan to synthesis of land art, drawing, and sculpture. Less well known is her exhibit works by Norman Bluhm, Paul Bury, Willem de Kooning, deep engagement with photography, ongoing for almost 50 years. Sam Francis, Michael Goldberg, Adolph Gottlieb, Alfred Leslie, Michelle Stuart. Area—Sayreville, New Jersey 2:30 pm, 1976. Earth on muslin-backed David Smith, Bradley Walker Tomlin, Andy Warhol, and others. rag paper, four vintage type-C prints mounted on muslin-backed rag paper, 22 × 30 in. Bradley Walker-Tomlin. Number 8, 1949. Oil on canvas, 39 × 44 in. © Michelle Stuart. Courtesy Leslie Tonkonow Artworks + Projects, New York
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VAN DOREN WAXTER WASHBURN GALLERY BOOTH B9 BOOTH B8 Richard Diebenkorn Jackson Pollock Culling work from the most celebrated The Washburn Gallery presents a booth facet of Diebenkorn’s print oeuvre, devoted solely to works on paper by Ocean Park, this presentation reflects Jackson Pollock. This will offer a rare the breadth and diversity of his exper- opportunity to see an exhibition of tise in various print media. Richard 20 drawings, largely from the 1940s Diebenkorn’s Ocean Park series produced by the artist over the 10 represents one of the most significant years during which he emerged from accomplishments by an American Picasso’s influence to his Analytic artist in the postwar era. These lumi- Drawings and finally to Pollock’s late nous works from the 1970s and 80s were named by the artist signature work. Included will be the smallest known Pollock, drawn after the area in Santa Monica where his studio was located. on both sides of a cigarette box, dating from the late 1950s. Works by In these works Diebenkorn shows his range of palette and his Jackson Pollock in the collection of the Pollock-Krasner Foundation, Inc. interest in light and surface as well as the study of open and are represented exclusively by the Washburn Gallery.
5 7 closed form. Jackson Pollock. Untitled, c. 1946. Ink and pencil on paper, 13 ⁄8 × 17 ⁄8 in. 1 Richard Diebenkorn. Ochre, 1983. Color woodcut, 27 ⁄4 × 38 in. Edition of 200. Courtesy The Pollock-Krasner Foundation, Inc. and Washburn Gallery, New York Courtesy the Richard Diebenkorn Foundation and Van Doren Waxter, New York MICHAEL WERNER MEREDITH WARD FINE ART BOOTH B6 BOOTH D18 Master Drawings Abstraction Creation U.S.A. Michael Werner Gallery is pleased to present Meredith Ward Fine Art’s exhibition of works an exhibition of master drawings. The presen- explores the influence of the Abstraction-Création tation will pair a selection of major historic works on paper by modern masters, including group on 20th-century American artists, situating Joseph Beuys, Francis Picabia, Puvis des them among the broader international community Chavannes, and Kurt Schwitters, with works that championed abstract art in the 20th century. by contemporary artists such as Peter Doig, Our presentation will include works by artists who Sigmar Polke, James Lee Byars, Enrico David, exhibited with Abstraction-Création in Paris in the and Hurvin Anderson. 1930s, as well as by those who were influenced Francis Picabia. Espagnole, c. 1923–27. Watercolor, and encouraged by the group’s dedication to the ink, and pencil on paper mounted on board, 3 1 principles of pure abstraction. The exhibition will 32 ⁄4 × 27 ⁄4 in. include works by Charles Biederman, Alexander Calder, Flora Crockett, Werner Drewes, Frederick Kann, Charles Shaw, Albert Swinden, Charmion Von Wiegand, and others. Charles Shaw. Plastic Polygon, 1936. Oil on panel with relief, 1 10 × 10 ⁄2 in.
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PAVEL ZOUBOK GALLERY DAVID ZWIRNER BOOTH D20 BOOTH C2 Sari Dienes, Addie Herder, and Stella Snead Chris Ofili Pavel Zoubok Gallery is presenting import- David Zwirner is pleased to participate with a special ant works by Sari Dienes (1898–1992), presentation of work by Chris Ofili (b. Manchester, England, Addie Herder (1920–2009), and Stella 1968). This installation will include four new paintings and Snead (1910–2006), three fiercely inde- several new watercolors by the artist. Displaying an intricate pendent artists whose distinctive creative balance of abstract and figurative elements, Ofili’s new paths overlapped in the storied Sherwood suite of paintings is dominated by complex arrangements Studios during the 1950s and 1960s. of repeated triangular motifs. Often paired in alternating Stella Snead. Be Seated, 1970s. Photocollage, duotones, hundreds of small triangles cover these 10 × 12 in. Courtesy Pavel Zoubok Gallery, New York canvases, creating in each a dynamic visual rhythm that shifts and pulsates. In the midst of these all-over geometric compositions, Ofili has inscribed figures in charcoal, which range from detailed portraits to shadowy semi-abstractions. Also on display will be a grouping of new watercolors marked by vibrant washes of color and delicate patterning. Closely related to the artist’s recent large-scale paintings, these works display Ofili’s diverse range of sources, which include William Blake, Tintoretto, and his own experiences of the culture and landscape of Trinidad, where has lived since 2005.
3 3 Chris Ofili. Triangle Couple in Bed, 2016. Oil and charcoal on linen, 62 ⁄8 × 38 ⁄4 in. © Chris Ofili. Courtesy David Zwirner, New York / London
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The Art Show 2017 Images from Select Presentations For hi-resolution images, please visit here
303 Gallery
Alexander and Bonin
Antiquarian Sleeping in his Shop
2017
3 painted aluminum lightboxes with transmounted chromogenic transparencies overall: 108 5/8 x 218 3/4 x 7 inches (275.9 x 555.6 x 17.8 cm)
Edition of 3 RG 554 © Rodney Graham, courtesy 303 Gallery, New York
Michael Buthe Michael Buthe From 1001 Nights, 1978 Torro, 1992 Mixed media, collage, paper, gouache on Mixed media, horns, stone on canvas canvas, 16 x 13 3/4 in/ 41 x 35 cm 16 1/2 x 12 1/4 x 2 1/2 in/ 42 x 31 x 6 cm Photo: Jason Mandella, courtesy Alexander Photo: Jason Mandella, courtesy Alexander and and Bonin, New York Bonin, New York
Berggruen Gallery
William de Kooning Richard Diebenkorn Untitled, 1967 Woman with Newspaper, 1960 Oil on paper laid down on Masonite Oil on Canvas 28 ¾ x 22 7/8 in 48 x 34 in Courtesy of Berggruen Gallery Courtesy of Berggruen Gallery
Peter Blum Gallery
Louise Bourgeois Louise Bourgeois Figure Massue, 1949 Untitled, 1945 Ink on paper Oil on canvas 15 1/2 x 9 1/2 in/ 39.4 x 24.1 cm 40 x 24 in/ 101.6 x 61 cm Courtesy Peter Blum Gallery, New York Courtesy Peter Blum Gallery, New York
Louise Bourgeois Untitled, 1949 Ink and graphite on paper 22 x 15 in/ 55.9 x 38.1 cm Courtesy Peter Blum Gallery, New York
Tanya Bonakdar
Olafur Eliasson Olafur Eliasson Olafur Eliasson The presence of absence (Nuup The seven days soft power took over The seven days soft power took over Kangerlua, 24 September 2015 #3) (Thursday) (Friday) 2016 2016 2016 concrete watercolour, Indian ink, and watercolour, Indian ink, and 39 3/8 x 39 3/8 x 39 3/8 inches; pencil on paper pencil on paper 100 x 100 x 100 cm 29 1/2 x 21 1/4 inches; 75 x 54 29 1/2 x 21 1/4 inches; 75 x 54 Photo: Jens Ziehe cm (framed) cm (framed) Courtesy the artist and Tanya Courtesy the artist and Tanya Courtesy the artist and Tanya Bonakdar Gallery, New York Bonakdar Gallery, New York Bonakdar Gallery, New York
Bortolami
Caitlin Keogh Nicolás Guagnini Untitled, 2016 Ulysses, 2016 Acrylic on canvas Vitrified glazed ceramic 81 x 108 in/ 205.7 x 274.3 cm 21 1/4 x 16 x 8 in/ 54 x 40.6 x 20.3 cm (CK801) (NG7206) Courtesy of the artist and Bortolami, New York Courtesy of the artist and Bortolami, New York
Alexander Brooke
John Baldessari Ken Price The Fallen Easel, 1988 Blind Bob, 1998 Color lithograph and screen print on Acrylic on fired ceramic paper and aluminum 5 1/2 x 8 x 6 1/2 in. / 14 x 20.3 x 16.5 cm. 74 x 95 in. / 188 x 241.3 cm. overall Edition of 35
Donald Judd Untitled (#251-254), 1991-94 Set of four woodcuts printed in French ultramarine blue on Japanese laid paper Mitsumata 26 ¼ x 38 ½ in. / 67 x 99 cm each Edition of 15 (estate stamped) Published by Brooke Alexander Editions, New York
Gavin Brown
Rirkrit Tiravanija untitled 2015 (don't shoot the messenger), 2015. Courtesy the artist and Gavin Brown's enterprise, New York / Rome.
James Cohan Gallery
Scott Olson Scott Olson Scott Olson Untitled, 2016 Untitled, 2016 Untitled, 2016 Oil on linen, maple frame Oil on linen, cherry frame Oil on linen, cherry frame 27 1/2 x 23 1/2 x 1 in 28 1/2 x 27 1/2 x 1 in 23 5/8 x 25 3/4 x 1 in (JCG8639) (JCG8640) (JCG8642) Courtesy James Cohan Gallery Courtesy James Cohan Gallery Courtesy James Cohan Gallery
Thomas Colville Fine Art
George Inness George Inness A June Day, 1881 Pastoral Scene, 1866 Oil on canvas Oil on artist’s board 24 x 30 inches 9 ⅞ x 12 ⅞ inches Signed and dated G. Inness 1881 lower left Signed and dated G. Inness 1866 lower left Inscribed Study from Nature on the stretcher
Inness 16-013 George Inness (American 1825-1894) Summer, Montclair, 1887 Oil on canvas 38 x 28 ½ inches Signed and dated G. Inness 1887 lower right
Paula Cooper Gallery
Kelley Walker Kelley Walker Kelley Walker Beat It, 2016 Cardboard, Corbusier Red, Abuse of Seventeen, 2016 Acrylic ink, MDF panel, two an Image, 2016 Acrylic ink and silkscreen mesh seven-inch vinyl records, blue Acrylic ink, cardboard, on on silkscreen on aluminum frame tape, media collage, tar paper on silkscreen on aluminum frame 64 x 42 in/ 162.6 x 106.7 cm silkscreen on aluminum frame 64 x 42 in/162.6 x 106.7 cm © Kelley Walker. Courtesy Paula 64 x 42 in/ 162.6 x 106.7 cm © Kelley Walker. Courtesy Paula Cooper Gallery, New York © Kelley Walker. Courtesy Paula Cooper Gallery, New York Photo: Steven Probert Cooper Gallery, New York Photo: Steven Probert Photo: EPW Studio
CRG Gallery
Alexandre da Cunha Alexandre da Cunha Kentucky (pink), 2016 Kentucky (Terracota), 2016 mop heads, dye, metal fittings mop heads, dye, metal fittings 78 x 45 1/4 x 6 1/4 in 52 x 43 1/4 in Courtesy of the artist and CRG Gallery, New York. Courtesy of the artist and CRG Gallery, New York.
Crown Point Press
Tomma Abts Jacqueline Humphries Charline von Heyl Untitled (big circle), 2015 :) :) :) :), 2016 Dust on a White Shirt (Stripes), 2014 Color aquatint Color sugar lift flat bite, spit bite Color sugar lift aquatint with soft 22 3/4 x 16 3/4 in, edition 20 aquatint, and aquatint with ground etching and drypoint on All prints published by Crown drypoint on gampi paper gampi paper chine colle Point Press chine colle 31 x 25 in, edition 20 28 x 29 in, edition 20 All prints published by Crown All prints published by Crown Point Press Point Press
Maxwell Davidson
Sam Messenger Sam Messenger Sam Messenger HR.8.15 2015 HR.14.16 2016 HR.15.16 2016 Ink & synthetic polymer paint on Ink and synthetic polymer paint Ink and synthetic polymer paint paper 65 x 59 inches 165 x 150 on paper 64.96 x 59.06 inches on paper 64.96 x 59.06 inches cm Unique Signature, year & 165 x 150 cm Signed, titled, and 165 x 150 cm Signed, titled, and serial number in pencil verso dated verso (10149) dated verso (10150) (9679)
Sam Messenger Sam Messenger HR.9.15 2015 HR.10.15 2015 Ink & synthetic polymer paint on paper 65 x 59 Ink & synthetic polymer paint on paper 64.96 x inches 165 x 150 cm Unique signature, year & serial 59.06 inches 165 x 150 cm Unique signature, year & number in pencil verso (9680) serial number in pencil verso (9681)
Fraenkel Gallery
Elisheva Biernoff Elisheva Biernoff Conversation, 2014–15 The Passion, 2014 Acrylic on 1/32-in plywood, painted on Acrylic on 1/32-in plywood, both sides painted on both sides © Elisheva Biernoff, courtesy Fraenkel © Elisheva Biernoff, courtesy Gallery, San Francisco Fraenkel Gallery, San Francisco
Elisheva Biernoff Elisheva Biernoff A Polaroid Land Photograph, 2015 Vision, 2016 Acrylic on 1/32-in plywood, painted Acrylic on 1/32-in plywood, on both sides painted on both sides © Elisheva Biernoff, courtesy © Elisheva Biernoff, courtesy Fraenkel Gallery, San Francisco Fraenkel Gallery, San Francisco
Peter Freeman, Inc.
Thomas Schütte Thomas Schütte Basler Maske (No. 23), 2014 Basler Maske (No. 28), 2014 Glazed ceramic Glazed ceramic 14 1/4 x 9 9/16 x 7 1/8 in 13 5/8 x 9 9/16 x 7 1/8 in Courtesy of Peter Freeman Courtesy of Peter Freeman
Hiram Powers Hiram Powers Psyche, 1849 Proserpine, 1849 Marble Marble 25 x 17 1/2 x 9 in 25 x 18 x 9 1/2 in Courtesy of Peter Freeman Courtesy of Peter Freeman
Galerie St. Etienne
Erich Heckel E.L. Kirchner Emil Nolde Ostende, 1916 Seated Girl at a Table, 1912 Head of a Bearded Man (Prophet), Watercolor and gouache on heavy Brush and ink on heavy cream 1912 off-white wove paper. Signed, dated wove paper. Signed, lower right. Watercolor and ink on cream and titled, lower center 16 1/8 in x Estate stamp and registration laid Japan paper. Signed, lower 22 5/8 in/ 41 x 57.5 cm number "FBe/Ba 6," and the right. 16 in x 113/4 in/ Courtesy Galerie St. Etienne numbers "K4698" and "4330," 40.6 x 29.8 cm verso. 18 3/8 in x 13 3/8 in/ Courtesy Galerie St. Etienne 46.7 x 34 cm Registered with the Ernst Ludwig Kirchner Archive, Wichtrach/Bern, Switzerland. Courtesy Galerie St. Etienne
James Fuentes
Noam Rappaport Untitled, (Blue and Green Door Form) 2011 Wood, Canvas, Oil, Wax, Colored Pencil 83 x 27 x 0.75 inches (210.82 x 68.58 x 1.91 cm) Unique
James Goodman Gallery
Roy Lichtenstein Forms in Space III 1991 Printed paper collage mounted on board 4 1/4 x 6 1/4 inches © Estate of Roy Lichtenstein
Marian Goodman Gallery
Ettore Spalletti Ettore Spalletti Ettore Spalletti Installation view at MUKHA, Installation view of Every Dawn, is Aurora, 1974 Antwerp, 1995 first/ Ogni alba, è la prima at Marian Courtesy of the artist and Courtesy of the artist and Marian Goodman Gallery, London, 2016 Marian Goodman Gallery Goodman Gallery Courtesy of the artist and Marian Image Credit: Werner J. Image Credit: Attilio Maranzano Goodman Gallery. Hannappel Image Credit: Matteo Ciavattella
Alexander Gray
Camnitzer, Espejismo, 1970 Camnitzer, First Second Third Degree Camnitzer, Garden Wall Door Burn, 1970 Table, 1968
Camnitzer, Topological Change Word Sequence, 1969 Camnitzer, Untitled, 1968
Richard Gray
Statsinger, Abstraction with Arrow, 1950 Statsinger, Untitled, 1948 Statsinger, Untitled, 1948
Hauser & Wirth
Arshile Gorky Arshile Gorky Nighttime, Enigma & Nostalgia Etude pour ‘Nighttime, Enigma & Nostalgia’ 1931 – 1932 1931 – 1932 Pen, ink and wash on paper Wash and Indian ink on paper 33.6 x 52 cm / 13 1/4 x 20 1/2 in 56 x 75 cm / 22 x 29 1/2 in © Arshile Gorky Foundation © Arshile Gorky Foundation Courtesy the Foundation and Hauser & Wirth Courtesy the Foundation and Hauser & Wirth
Hirschl & Adler Modern
Installation view of Elizabeth Turk, Cages, Installation view of Elizabeth Turk, Script, Hirschl & Adler Modern, 2012 Hirschl & Adler Modern at Masterpiece Courtesy of the artist and Hirschl & Adler London, 2014 Modern, New York Courtesy of the artist and Hirschl & Adler Photo © Eric W. Baumgartner Modern, New York Photo © Rory Lindsay
Elizabeth Turk Elizabeth Turk Elizabeth Turk Cage: Box 15, Home, Script: 165, 2012 Marble 22 x 10 ½ x 8 ½ 2015 Marble and Northern 2017 Marble 48 x 8 x 8 inches inches Courtesy of the artist and California redwood 36 x 67 x 120 Courtesy of the artist and Hirschl Hirschl & Adler Modern, New inches Courtesy of the artist and & Adler Modern, New York York photo © Josh Nefsky Hirschl & Adler Modern, New photo © Eric Stoner York photo © Eric Stoner
Rhona Hoffman
Donald Judd, Untitled James Wines, Madison Square Park Cafe Richard Tuttle, Rose Even, 1990 (11-R), 1982 NYC, 2003 Watercolor on paper in golden frame Wood-block in clear Pen and ink rendering 14 x 20 inches, framed sugarpine wood 16 x 21 inches, framed 25.25 x 16 x 2 inches
Sol LeWitt, Cube, 1965 Sol LeWitt, Untitled (Relative to Sylvia Plimack Painted steel on aluminum Five Structures Exhibited at Mangold, Sapphire, 1981 10 x 10 x 4 inches Hammarskjold Plaza Sculpture Oil on canvas Garden), 1976 30 x 40 inches Ink on vellum 15 x 16 inches, framed
Hosfelt Gallery
Liliana Porter, Dialogue with Liliana Porter, Forty Years Liliana Porter, To Fix It II (round clock), Christ / Lamp, 1999, collage IIIB (hand, over horizontal line 2016, metal clock, figurine on painted on Rivadavia notebook 1973), 2013, chromogenic print, shelf, 6 x 12 x 10 1/4 inches. Courtesy paper, 8 1/2 x 6 24 1/4 x 22 3/4 inches, edition of Hosfelt Gallery, San Francisco. inches. Courtesy of Hosfelt of 5 and 2 APs. Courtesy of Gallery, San Francisco. Hosfelt Gallery, San Francisco.
Inman Gallery
Dorothy Antoinette (Toni) LaSelle Dorothy Antoinette (Toni) Dorothy Antoinette (Toni) Composition 10, 1948 LaSelle LaSelle Oil on canvas, vintage frame 24 Small Doxology, lll, 1956 Untitled #11 (March 1), 1946 5/8 x 20 5/8 in Oil on canvasboard, vintage Charcoal on paper 25 x 19 in Courtesy Inman Gallery frame 10 1/2 x 8 1/2 in framed, Courtesy Inman Gallery 10 x 8 in unframed Courtesy Inman Gallery
Casey Kaplan
Sarah Crowner Sarah Crowner Sarah Crowner Legs (Red), 2017 Legs (Red), 2017 Legs (Red), 2017 Acrylic on canvas, sewn Acrylic on canvas, sewn Acrylic on canvas, sewn 86 x 72" / 218.4 x 182.9cm 86 x 72" / 218.4 x 182.9cm 86 x 72" / 218.4 x 182.9cm Photo: Jean Vong Photo: Jean Vong Photo: Jean Vong Courtesy the artist and Casey Courtesy the artist and Casey Kaplan, Courtesy the artist and Casey Kaplan, New York New York Kaplan, New York
Sarah Crowner Sarah Crowner Sarah Crowner Legs (Red), 2017 Legs (Red), 2017 Legs (Red), 2017 Acrylic on canvas, sewn Acrylic on canvas, sewn Acrylic on canvas, sewn 86 x 72" / 218.4 x 182.9cm 86 x 72" / 218.4 x 182.9cm 86 x 72" / 218.4 x 182.9cm Photo: Jean Vong Photo: Jean Vong Photo: Jean Vong Courtesy the artist and Casey Courtesy the artist and Casey Courtesy the artist and Casey Kaplan, New York Kaplan, New York Kaplan, New York
Paul Kasmin Gallery
Lee Krasner Lee Krasner Celestial Equator, 1980 Buffon's Parakeet, 1980 Oil and paper collage on lithograph Oil and crayon collage on lithograph 23 3/4 x 30 in/ 60.3 x 76.2 cm 22 3/4 x 29 3/4 in/ 57.8 x 75.6 cm (PK 22262) (PK 22326) © 2016 The Pollock-Krasner Foundation/ © 2016 The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York. Artists Rights Society (ARS), New York. Image courtesy of Paul Kasmin Gallery Image courtesy of Paul Kasmin Gallery
Lee Krasner The Farthest Point, 1981 Oil on paper collage on canvas 56 3/4 x 37 1/4 in/ 144.1 x 94.6 cm (PK 22315) © 2016 The Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York. Image courtesy of Paul Kasmin Gallery.
June Kelly Gallery
Kay WalkingStick Aquidneck Cliffs, 2015 Oil on wood panel 16 x 40 in Courtesy June Kelly Gallery
Kay WalkingStick North Rim Clouds, 2016 Oil on wood panel 36 x 72 in Courtesy June Kelly Gallery
Kay WalkingStick The Canyon, 2016 Oil on wood panel 24 x 48 in Courtesy June Kelly Gallery
Sean Kelly Gallery
Ilse D'Hollander Ilse D'Hollander Ilse D'Hollander Untitled, 1996 Fraying, 1995 Untitled, 1996 Oil on canvas Oil on canvas Oil on canvas 22 x 18 5/16 x 1 3/4 in/ 55.9 x 21 7/8 x 18 3/4 x 1 3/4 in/ 55.6 x framed: 18 x 16 3/8 x 1 3/4 in/ 46.5 x 4.4 cm framed, 20 7/8 x 47.6 x 4.4 cm framed, 20 7/8 x 17 45.7 x 41.6 x 4.4 cm, 16 15/16 x 17 5/16 in/ 53 x 44 cm 3/4 in/ 53 x 45 cm unframed 15 3/8 in/ 43 x 39 cm unframed unframed Courtesy Sean Kelly Gallery Courtesy Sean Kelly Gallery Courtesy Sean Kelly Gallery
Kohn Gallery
Bruce Conner Bruce Conner Bruce Conner Untitled (Abstract Over Orange), 1957 Spider Lady Dungeon, 1959 Wichita, 1963 Oil on canvas 12 x 12 in Mixed media assemblage Ink on paper 23 3/4 x 17 3/4 in Courtesy Kohn Gallery 35 1/2 x 12 1/4 x 11 in Courtesy Kohn Gallery Courtesy Kohn Gallery
Barbara Krakow
Richard Artschwager Sol LeWitt Pregunta II, 1983 Squiggly Lines (Gray on Black), 1997 Painted wood in two parts monoprint 29 1/2 x 11 x 2 inches (74.9 x 27.9 x 5.1 cm) Image/paper size: 56 x 56 inches (142.2 x 142.2 cm)
Hans P. Kraus Jr.
Anna Atkins Hiroshi Sugimoto, Halymenia furcellata, from British Algae, 1843-51 Lightning Fields 225, 2009 Cyanotype 25.9 x 20.4 cm Gelatin silver print 58.4 x 49.5 cm Credit: Hans P. Kraus Jr. Credit: Hans P. Kraus Jr.
Adam Fuss William Henry Fox Talbot Butterfly, 2009 Maidenhair Fern, 1839 (est.) Daguerreotype 25.4 x 20.3 cm Photogenic drawing 22.5 x 18.3 cm Credit: Hans P. Kraus Jr. Courtesy Hans P. Kraus Jr. Photo courtesy of Cheim & Read
Galerie Lelong
Zilia Sánchez Zilia Sánchez Topología (de la serie Tatuajes), 1993 Topología erótica (from the series las [Topology (of the Tattoo series)] Amazonas), 1968 [Erotic Topology Acrylic on stretched canvas (of the Amazons series)] 47 x 46 3/4 in/ 119.4 x 118.7 cm Acrylic on stretched canvas (GL9544) 41 x 55.9 in/ 104.1 x 141.9 cm © Zilia Sánchez, courtesy Galerie Lelong, (GL9829) New York © Zilia Sánchez, courtesy Galerie Lelong, New York
Zilia Sánchez in her studio, 2014 Zilia Sánchez Photo: Raquel Pèrez Puig Topología (de la serie Amazona), © Zilia Sánchez, Courtesy Galerie 1967/1993/2006 Lelong, New York [Topology )of the Amazon series)] Acrylic on stretched canvas, 57 3/4 x 73 3/4 x 8 inches (146.7 x 187.3 x 20.3 cm)
Locks Gallery
Pat Steir Louise Bourgeois White Splash on Black, Black Splash on White, 2009 Persistent Antagonism, 1949 Oil on canvas 84 x 84 in Bronze, ed. 6/6 70 x 12 x 12 in Courtesy Locks Gallery Courtesy Locks Gallery
Jeffrey Loria
Aristide Maillol Maquette for Mountain 1936-37 (1er etat) Unique sculpture in Lead 11 1/2 x 5 1/8 x 11 inches
Luhring Augustine
Josh Smith Josh Smith Josh Smith Untitled, 2016 Untitled, 2016 Untitled, 2016 Oil on canvas 72 x 60 in/ Oil on canvas 84 x 72 in/ Oil on canvas 48 x 36 in/ 182.9 x 152.4 cm 213.4 x 182.9 cm 121.9 x 91.4 cm Courtesy of the artist and Luhring Courtesy of the artist and Luhring Courtesy of the artist and Augustine, New York Augustine, New York Luhring Augustine, New York
Pace Macguill
RICHARD MISRACH Untitled, 2008 archival pigment print mounted to Dibond © Richard Misrach; courtesy Pace/MacGill Gallery, New York
Barbara Mathes
Sigmar Polke (1941-2010) Untitled 1992 Acrylic and gouache on paper 27 1/2 x 39 1/3 in; 70 x 100 cm Framed: 38 1/8 x 49 3/4 x 1 1/2 in; 96.84 x 126.37 x 2.5 cm Signed and dated lower right: Sigmar Polke 92
Matthew Marks
Jasper Johns Anne Truitt Untitled, 2015 15 Oct ’65, 1965 Monotype on Sommerset Velvet Cream paper Acrylic on paper 20 1/2 x 12 in/ 52 x 31 cm 38 x 29 7/8 in/ 97 x 76 cm © Estate of Anne Truitt / The Bridgeman Art © Jasper Johns / Licensed by VAGA, New York / Library / Courtesy Matthew Marks Gallery Courtesy Matthew Marks Gallery
Mary-Ann Martin
DAVID ALFARO SIQUEIROS (1896-1974) LEONORA CARRINGTON (1917-2011) La Patrona Temple of the Word Duco (pyroxilyn paint) on composition board oil and gold leaf on canvas 29¾ × 24 inches (75.6 × 61.0 cm) 39 x 31 1/2 inches (100 x 80 cm) signed signed and dated July 1954 1939 1954
RUFINO TAMAYO (1899 - 1991) Hombre Feliz (The Happy Man) oil and sand on canvas 29¾ × 40 inches (75.6 × 101.6 cm) signed and dated O-47 lower right 1947
Lehmann Maupin
BILLY CHILDISH edge of wood, 2016 oil and charcoal on linen 60.04 x 96.06 inches 152.5 x 244 cm Courtesy the artist and Lehmann Maupin, New York and Hong Kong
Fergus McCaffrey
Untitled (Nun), 1990 Houdini, 1990 Color photographs, fabric Black and white photographs, fabric 47 1/4 x 74 3/4 inches 47 1/4 x 47 1/4 inches (120 x 190 cm) (120 x 120 cm) © The Estate of Birgit Jürgenssen; Courtesy of © The Estate of Birgit Jürgenssen; Courtesy of Fergus McCaffrey Fergus McCaffrey
Anthony Meier Fine Arts
Larry Bell, W Sculpture Courtesy of Anthony Meier Fine Arts
Menconi + Schoelkopf
STUART DAVIS (1892-1964) Study for 'Combination Concrete' No. 2, 1956 Gouache on board 14 x 10 1/2 inche Signed at lower center, vertically, in script: Stuart Davis
Yossi Milo
Clare Strand From the series Marco Breuer Untitled (C-1787), Marco Breuer Untitled (C-1805), Gone Astray Details Untitled, 2016 Chromogenic Paper, 2016 Chromogenic Paper, 2002-2003 © Clare Strand, exposed/embossed/scraped 31 embossed/scraped 29 1/4" x 24 Courtesy Yossi Milo Gallery, 1/16” x 24 3/4" (78.9 x 62.9 cm) 1/16" (74.3 x 61.1 cm) © Marco New York © Marco Breuer, Courtesy Yossi Breuer, Courtesy Yossi Milo Milo Gallery, New York Gallery, New York
Donald Morris
Henri Laurens La Banderole 1931 Bronze 14 1/2 inches high
Mnuchin Gallery
Agnes Martin Cy Twombly Untitled #9, 1988 Untitled, 1969-71 Acrylic and graphite on canvas Acrylic and crayon on paper 72 x 72 inches (182.9 x 182.9 cm) 35 3/8 x 30 inches (89.9 x 76.2 cm) © 2017 Agnes Martin / Artists Rights Image courtesy Mnuchin Gallery Society (ARS), New York Image courtesy Mnuchin Gallery
Jill Newhouse Gallery
Edouard Vuillard Edouard Vuillard Grand-mère lisant Sous la lampe au Chateau des Clayes, 1925 Watercolor and pencil on paper Pastel and pencil on paper 7 1/2 x 10 3/8 in/ 19.1 x 26.4 cm 3 7/8 x 6 3/4 in/ 10 x 17.2 cm Courtesy of Jill Newhouse Gallery Courtesy of Jill Newhouse Gallery
Edouard Vuillard Edouard Vuillard La Grand-mère de l'artiste, 10 rue Miromesnil, 1887– 91 Groupe de personnages en conversation Watercolor on paper Ink and watercolor on paper 7 1/8 x 6 1/4 in/ 18 x 16 cm 9 1/2 x 11 1/2 in Courtesy of Jill Newhouse Gallery Courtesy of Jill Newhouse Gallery
Tina Barney Lisa Yuskavage Water View, 2011 Grey Bedroom, 2002 chromogenic color print Oil on panel 48 x 60 inches 7 x 5 inches 121.9 x 152.4 cm 17.8 x 12.7 cm Edition 1 of 10 Signed and dated verso © Tina Barney, Courtesy of Paul Kasmin Gallery Courtesy David Zwirner Gallery
David Nolan Gallery
Alexander Ross Alexander Ross Upward Cascade III Untitled 2016 2016 watercolor, graphite, color pencil on paper graphite on paper 30 x 22 in 30 x 22 1/4 in 76.2 x 55.9 cm 76.2 x 56.5 cm © Alexander Ross, Courtesy David Nolan Gallery, © Alexander Ross, Courtesy David Nolan Gallery, New York New York
Alexander Ross Mel Kendrick Goosefoot Blue Holes 2015 2016 oil on canvas blue Japan color on wood 54 x 52 in 40 3/4 x 32 x 4 in 137.2 x 132.1 cm 103.5 x 81.3 x 10.2 cm © Alexander Ross, Courtesy David Nolan Gallery, © Mel Kendrick, Courtesy David Nolan Gallery, New York New York
Mel Kendrick Mel Kendrick Untitled Untitled 2015 2015 bronze, black patina bronze, black patina 15 x 8 x 7 in 15 x 8 x 7 in 38.1 x 20.3 x 17.8 cm 38.1 x 20.3 x 17.8 cm Edition 3 of 3 cast bronzes, each uniquely treated, Edition 3 of 3 cast bronzes, each uniquely treated, with 1 AP with 1 AP © Mel Kendrick, Courtesy David Nolan Gallery, © Mel Kendrick, Courtesy David Nolan Gallery, New York New York
Pace Gallery
Thomas Nozkowski, Thomas Nozkowski, Untitled (9-51), 2016, Untitled (9-56), 2016, oil on linen on panel, 22" x 28" oil on linen on panel, 22" x 28" (55.9 cm x 71.1 cm). (55.9 cm x 71.1 cm). Photography by Kerry Ryan McFate © Thomas Photography by Kerry Ryan McFate © Thomas Nozkowski, courtesy Pace Gallery. Nozkowski, courtesy Pace Gallery.
Pace Prints & Pace Primitive
Dan Mask Pablo Picasso 19th century, Ivory Coast Portrait de Jacqueline, 1959 Wood 7 1/4 in Color linocut, 25 1/4 x 20 5/8 in, edition of 50 Photo courtesy Pace Primitive Signed in pencil Photo courtesy Pace Master Prints
Petzel
JOYCE PENSATO JOYCE PENSATO Untitled (Bart Simpson) 1994 Untitled (Bart Simpson) 1994 Enamel on paper Enamel on paper 41.14 x 29.13 inches 41.14 x 29.13 inches 104.5 x 74 cm (PEN 15/054) 104.5 x 74 cm (PEN 15/059)
JOYCE PENSATO JOYCE PENSATO drawing from Joyce 1976 drawing from Joyce 1976 Charcoal on paper 50 x 38.25 inches Charcoal on paper 50 x 38.25 inches 127 x 97.2 cm (PEN 15/37 127 x 97.2 cm (PEN 15/37
P.P.O.W. Pilkington-Olsoff Fine Arts, Inc
Betty Tompkins Cow Cunt #1, 1976 Acrylic on canvas 84 x 60 inches Courtesy the artist and P.P.O.W, New York
Cheim Read
Bill Jensen HUSHED Bill Jensen HUSHED Bill Jensen HUSHED MOUNTAINS V 2015-16 Oil MOUNTAINS III 2015-16 Oil MOUNTAINS II 2015-16 Oil on linen 40 x 32 inches 101.6 x on linen 32 x 25 inches 81.3 x on linen 28 x 23 inches 71.1 x 81.3 centimeters 63.5 centimeters 58.4 centimeters
James Reinish & Associates, Inc.
Stuart Davis Marsden Hartley George L.K. Morris Final Study for Radio City Music Hall A Lady in Laughter, 1919 Airplane Factory, 1945–47 Mural, 1932 Oil on board 23 x 18 1/2 in Oil on canvas 24 x 16 in Ink, blue crayon (grid) and traces of signed lower center: Marsden signed lower right: "Morris" pencil on paper 22 x 34 1/2 in Hartley on verso: "George L.K. Morris/ signed right center: Stuart Davis Courtesy James Reinish & Airplane Factory/ 1945–7" Courtesy James Reinish & Associates, Inc. Courtesy James Reinish & Associates, Inc. Associates, Inc.
Michael Rosenfeld
Norman Lewis (1909-1979) Norman Lewis (1909-1979) Twilight, 1956 Untitled, 1964 oil on canvas oil on paper 59 3/4" x 40" / 151.8 x 101.6 cm 34" x 22 1/2" / 86.4 x 57.1 cm signed and dated signed and dated © Estate of Norman W. Lewis; Courtesy of Michael © Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Rosenfeld Gallery LLC, New York, NY
Norman Lewis (1909-1979) Norman Lewis (1909-1979) Florence, 1947 Orpheus, 1953 oil and ink on gessoed panel oil on canvas 14" x 18" / 35.6 x 45.7 cm 29 5/8" x 50" / 75.2 x 127.0 cm signed and dated signed and dated © Estate of Norman W. Lewis; Courtesy of Michael © Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Rosenfeld Gallery LLC, New York, NY
Norman Lewis (1909-1979) Untitled, 1977 oil on canvas 50" x 72" / 127.0 x 182.9 cm signed and dated Credit Line: © Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Salon 94
Huma Bhabha Huma Bhabha Huma Bhabha Untitled, 2015 Belus, 2016 Leochicospeedy, 2016 Ink, pastel, acrylic paint and Cork, Styrofoam, acrylic paint, Photogravure, spit bite aquatint, collage on paper oilstick and nail polish Hahnemuhle mould-made 30 x 22 inches Overall Dimensions: paper (76.2 x 55.9 cm) 76 1/4 x 36 x 24 inches Image 74.5 x 49.5 cm; Paper (193.7 x 91.4 x 61 cm) 88.5 x 80 cm Edition of 18, Series of 10 Published by Niels Borch Jensen Gallery & Editions
Julie Saul
Pavel Pepperstein "It had to be some silly little communist" watercolor & ink on paper 15 x 11"
Marc Selwyn Fine Art
Lee Bontecou Jay De Feo Untitled, 1962 Reflections of Africa, 1987 Soot on paper Acrylic, graphite and oil pastel on paper 10x13 inches 13 ¾ x 11 inches Image courtesy of Marc Selwyn Fine Art Image courtesy of the Jay DeFeo Foundation and Marc Selwyn Fine Art
Susan Sheehan
Jasper Johns Barnett Newman Usuyuki, 1982 Untitled, 1961 Screenprint, 29 1/2 x 47 1/4 inches Lithograph Printer: Kenjiro Nonaka, Hiroshi Kawanishi Sheet size: 30 1/8 x 22 1/8 inches Publisher: Simca Print Artists, inc Printer: Pratt Graphic Art Center, New York Edition size: 52, plus proofs Publisher: The Artist Signed, dated, and numbered in pencil, lower Edition size: 30 margin Singed, dated and numbered in pencil, lower margin
Manny Silverman
Bradley Walker-Tomlin Number 8, 1949 Oil on canvas 39 x 44 inches Signed upper left
Leslie Tonkonow Artworks + Projects
Michelle Stuart Michelle Stuart Copan / Ouirigua / Masa Verde, 1966-78 Area – Sayreville, New Jersey 2:30 pm, 1976 3 framed color photographs Earth on muslin-backed rag paper, four vintage 13 x 19 inches type-c prints mounted on muslin-backed rag Muslin-backed rag paper paper 11 stacks in 3 units, 4 x 12 x 12 inches ea. 22 x 30 inches 52-1/2 inches wide overall Image courtesy of Leslie Tonkonow Artworks + Image courtesy of Leslie Tonkonow Artworks + Projects Projects
Michelle Stuart Wind/Rain/Time, 1974/2015 4 Archival ink jet photographs 8-1/2 x 11 inches each 11-1/2 x 48 inches overall (framed)
Meredith Ward
Charles Biederman (1906-2004) Charles Shaw (1892-1974) 9/1935, 1935 Plastic Polygon, 1936 Oil on canvas Oil on panel with relief 13 x 10 1/4 inches 10 x 10 1/2 inches
Van Doren Waxter
Richard Diebenkorn Richard Diebenkorn Blue Surround 1982 Color aquatint, spit-bite High Green II 1992 Etching and aquatint Sheet: 52 aquatint, etching offset, and drypoint Sheet: 34 3/4 x 33 5/8 inches (134 x 85.4 cm) 7/8 x 26 1/2 inches (88.6 x 67.3 cm) Plate: 22 x 18 7/8 inches (55.8 x 47.9 cm)
Richard Diebenkorn Richard Diebenkorn Red Yellow Blue 1986 Color Ochre 1983 Color woodcut Sheet: 27 1/4 x 38 soft ground etching with drypoint Sheet: 26 3/8 x inches (69.2 x 96.5 cm) 40 inches (67 x 101.6 cm) Plate: 16 7/8 x 29 3/4 Edition of 200 inches (42.9 x 75.6 cm)
Washburn Gallery
Jackson Pollock Jackson Pollock Jackson Pollock Untitled, c. 1952–56 Untitled, c. 1932–42 Untitled, c. 1939–42 Recto: ink on beige Recto: pen and blue ink on paper, verso: Recto: pen and brown ink matchbox cardboard, verso: pen and blue ink with black crayon with dark brown crayon on ink on blue matchbox 13 x 10 3/8 in. paper, verso: pen and brown cardboard (CR#576) ink with in wash and dark 3 3/8 x 2 1/2 in. Courtesy Washburn Gallery brown 18 x 13 7/8 in. (CR#870) (CR#607) Courtesy Washburn Gallery Courtesy Washburn Gallery
JACKSON POLLOCK JACKSON POLLOCK JACKSON POLLOCK Untitled, c. 1946 Untitled, c. 1945 Untitled, c. 1952-56 Ink and pencil on paper Brown ink on blue paper R: ink on beige matchbox 13 5/8 x 17 7/8 in. 27 1/4 x 20 1/4 in. cardboard V: ink on blue matchbox cardboard 3 3/8 x 2 1/2 in.
Michael Werner
Hurvin Anderson Peter Doig "Studio Drawing 23", 2014 "Pond Painting", 2000 Acrylic on paper Oil on paper 11 1/2 x 8 1/2 inches 22 x 30 inches 29 x 21.5 cm 56 x 76 cm
Francis Picabia Georg Baselitz “Espagnole”, ca. 1923-1927 “Untitled”, 1967 Watercolor, ink, pencil on paper mounted on board India ink, pencil, felt-tip pen on paper 32 3/4 x 27 1/4 inches 17 1/4 x 12 1/4 inches 83.5 x 69 cm 44 x 31 cm
Sperone Westwater Gallery
Arman Arman Arman Que d'eau! Que d'eau!, 1961 Accumulation of Light Bulbs, Accumulation of Light Bulbs, Vintage faucets in wood box 1962 1962 11 3/4 x 17 3/4 x 3 1/8 in/ Light bulbs in resin, under Light bulbs in resin, under 30 x 45 x 8 cm plexiglass plexiglass Courtesy of Sperone Westwater Gallery 13 x 7 7/8 x 2 inches 13 x 7 7/8 x 2 inches (33 x 20 x 5 cm) (33 x 20 x 5 cm) Courtesy of Sperone Courtesy of Sperone Westwater Gallery Westwater Gallery
Pavel Zoubok Gallery
Addie Herder Sari Dienes Stella Snead ES, 1980 Central Park, c. 1954 Be Seated, 1970s Collage construction Rubbing on Webril mounted to a Photocollage 10 x 12 in 13 1/2 x 9 1/16 in four-panel screen 38 1/2 x 120 in Courtesy of Pavel Zoubok Courtesy of Pavel Zoubok Courtesy of Pavel Zoubok Gallery, Gallery, New York Gallery, New York New York
David Zwirner
Chris Ofili Chris Ofili Poured Lime Bar, 2014 Triangle Couple in Bed, 2016 Watercolor and charcoal on paper Oil and charcoal on linen 19 1/8 x 12 5/8 inches 62 3/8 x 38 3/4 inches 48.6 x 31.9 cm 158.4 x 98.4 cm Framed: 25 7/8 x 19 x 3/4 inches © Chris Ofili. Courtesy David Zwirner, New 65.5 x 48.2 x 1.8 cm York/London © Chris Ofili. Courtesy David Zwirner, New York/London
About Henry Street Settlement
Founded in 1893 on Manhattan’s Lower East Side by Progressive reformer Lillian Wald, Henry Street Settlement challenges the effects of urban poverty by helping families achieve better lives for themselves and their children. And in this challenging climate, Henry Street is just as devoted as it was 124 years ago to serving our diverse immigrant population who have come here in search of freedom and opportunity. HENRY STREET SETTLEMENT 265 Henry Street New York, NY 10002 Distinguished by a profound connection to its neighbors, a willingness to address www.henrystreet.org new problems with swift and innovative solutions, and a strong record of tel: 212.766.9200 #TheArtShowNYC accomplishment, Henry Street is one of the city’s largest and most effective social services agencies. Many of its initiatives have been replicated nationwide.
Each year, Henry Street Settlement opens doors of opportunity for more than 60,000 Lower East Side residents and other New Yorkers by providing innovative social service, arts, and health care programs at 17 program sites, and at satellite locations in public schools and public housing. Henry Street offers more than 45 programs encompassing workforce development; shelter and supportive services for homeless families, single adults, and survivors of domestic violence; mental health and primary care; a parent center; benefits screening and access to affordable health insurance, and legal and financial counseling; senior services, including home- delivered meals; and day care centers, after-school, college prep, and employment programs for youth.
Henry Street continues Lillian Wald’s commitment to provide access to the arts to all. Each year, more than 30,000 students, artists, and audiences create and experience dynamic works of art through the Obie award–winning Abrons Arts Center. In 2016 the Center had 10 performances that were selected as New York Times Critics’ Picks.
Henry Street’s myriad programs are made possible through individual, corporate and foundation support and as well as through government funding. To read more about Henry Street, please visit our website: www.henrystreet.org.
For additional information, please contact: Merav Davis Special Events Manager Henry Street Settlement 265 Henry Street New York, NY 10002 212.766.9200, ext. 247 [email protected]
To beneft the Henry Street Settlement Organized by the Art Dealers Association of America