MO SHANNON 22807 Plummer Street Chatsworth California 91311 818.518.7613 [email protected]

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MO SHANNON 22807 Plummer Street Chatsworth California 91311 818.518.7613 Msmoshannon@Gmail.Com MO SHANNON 22807 Plummer Street Chatsworth California 91311 818.518.7613 [email protected] PROFESSIONAL EXPERIENCE MO SHANNON ARTS MANAGEMENT, November 1994 to Present A service of care management for private collectors, artists and museums. Services include complete documentation and condition surveys of fine works of art; coordinate art movement, courier services as needed, installation and storage improvements; facilitate loan requests, conservation needs, and evaluations, as necessary. Client list includes: Beth Swofford; Tim Burton; Joel Lubin and Marija Karan; Joan Borinstein; Scaramanga Bros., Inc.; HST Archives, LLC; Freedman Family Collection; Jerome Dahan; Devra Breslow; Fred Hoffman; Metropolitan Museum of Art; The Brooklyn Museum; Weisman Museum of Art at Pepperdine University; Masterpiece International; Gagosian Gallery; The Museum of Modern Art; Palms Spring Art Museum; The Irvine Museum; Denver Art Museum; Albright-Knox Art Gallery; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Whitney Museum of American Art; The Huntington Library; Philadelphia Museum of Art; Princeton University Art Museum; Broad Art Foundation Contract Registrar Projects: The Art of Tim Burton, traveling International exhibition: Bruhl, Germany; Osaka and Tokyo; Prague. March 2014-2017 Basquiat: The Unknown Notebooks, Brooklyn Museum, Brooklyn, NY, April 3 – August 23, 2015 Chuck Close: Face Forward, FRWMA, Malibu, Jan 17-April 5, 2015 Bob Peak: The Movie Poster & Beyond, FRWMA, Malibu, May – August, 2014 Wayne Thiebaud: Works on Paper 1948-2004, FRWMA, Malibu, Jan-March, 2014 Jewels by Jar, Metropolitan Museum of Art, October, 2013 – April, 2014 (courier) Galen at the Galen, Palm Springs Art Museum, February 2014 Lichtenstein: Expressionism, Gagosian, Paris, July 1- Oct.12, 2013 (courier) Robert Therrien, Albright-Knox Art Gallery, Buffalo, NY, July 3–Oct. 27, 2013 Keep Your Timber Limber (Works on Paper), ICA London, June 19-Sept. 8, 2013 Tim Burton, Museum of Modern Art, Nov. 2009 – April, 2010; traveling – 2013 (courier) Illustrating Modern Life: The Golden Age of American Illustration. FRWMA, Malibu, January-April, 2013 California Impressionism, The Irvine Museum (traveling exhibition) Aug. 2012 - 2014 The Epic & the Exotic: 19c Academic Realism from the Dahesh Museum of Art, FRWMA, Malibu, Jan-April, 2012 Selections from The Irvine Museum, Dec. 2009 – 2013 (traveling exhibition) Roy Lichtenstein: In Process, FRWMA, Malibu, Jan. – April, 2011 (courier) Whitney Museum of American Art: Biennale 2010 (Babette Mongolte), January 2010 Chinese Painting & Calligraphy from the Weng Collection, The Huntington Library, April – July 2009 Cezanne & Beyond, Philadelphia Museum of Art, Feb. 2009 (courier) Frank Gehry: On Line, Princeton University Art Museum, Oct, 2008-Feb. 2009 All Things Bright & Beautiful, The Irvine Museum (traveling exhibition) 2008-2010 Plant Portraits: The California Legacy of A.R.Valentine, The Irvine Museum (traveling exhibition) 2004-2009 THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES, 1985 - 1994 Chief Registrar (July 1993 - Nov 1994; Registrar (Jan 1985 - June 1993) Department Head entrusted with the care and protection of all works of art in MOCA's permanent collection and on loan for special exhibitions. Oversaw all activities of the Registrar's Department including organization of major domestic and international exhibitions for circulation; consulted and advised on exhibition schedules, budgets and contracts; developed and administered departmental budgets; negotiated museum fine art insurance; formulated departmental policies and procedures; created strategy and administered federal and private grants for conservation and collection maintenance; generated long- range conservation plans and collection management policies for the museum; coordinated with the curatorial department regarding the development and utilization of the permanent collection. PROFESSIONAL FORUM Panelist, Survival Strategies for Consultants, Western Museum Assoc. October, 2009 Panelist, Selection of Pre-Qualified Pool of Conservators, City of Los Angeles Department of Cultural Affairs, 2002 Membership Committee, Art Table, Inc., 1999-2000 Speaker, Association of Midwest Museums Conference, ‘Listening to Others: Peer Reviews’, 1999 Speaker, Los Angeles Preservation Network (LAPNET), ‘Exhibits, Loans & Preservation: Maintaining A Delicate Balance’ Topic: ‘The Purpose and Value of Facilities Reports’, 1995 Speaker, Annual Meeting of the American Association of Museums, ‘Packing and Transportation of Museum Objects’, 1992 EDUCATION: Attendee: ARCS Inaugural Conference, Chicago, Oct.31-Nov.3, 2013 “…A Conservator’s View to the Art of Condition Reporting”, LA, April, 2013; ‘International Registrars Symposium’, New Orleans, LA, May 2004; Course Participant, Natl Preservation Inst., ‘A Balancing Act: Management of the Historic House Museum and Its Collections’, May 2000; The Natl Park Service & The American Inst. for Conservation, ‘Museum Exhibit Lighting: Conservation, Design, Technology’, June 1997 Bachelor of Arts, University of Michigan, Ann Arbor, 1979 Sotheby's Works of Art Training Course, London, England, 1977-1978 MEMBERSHIPS: ARCS: Association of Registrars & Collection Specialists / Registrars Committee, AAM / American Alliance of Museums / Registrars Committee - Western Region / Western Association for Art Conservation (WAAC) / Art Table, Inc. / PACCIN (Preparation, Art Handling & Collections Care Information Network) .
Recommended publications
  • Robert Therrien
    Robert Therrien Bibliographie / Bibliography Monographien und Ausstellungskataloge / Monographs and exhibition catalogues 2016 Glover, M. ed.: Robert Therrien: Works 1975 – 1995, Parasol unit, London 2015 ‘Robert Therrien: Works on Paper’, Kunstmuseum Basel, Scheidegger & Spiess (German edition), University of Chicago press. 2013 Pesanti, Heather, Robert Therrien, Albright-Knox Art Gallery, Illus. 2012 Decade: Contemporary Collecting 2002-2012, Albright-Knox Art Gallery, illus. October. Enberg, Siri with Michael Lobel, Josiah McElheny, Rochelle Steiner, Lifelike, Walker Art Center, Illus: 146. 2008 Bryson, Norman / Rowell, Margit: Robert Therrien. New York: Rizzoli Int. & Gagosian Gallery. 2006 Grenier, Catherine: Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. 2001 Bryson, Norman: Robert Therrien. New York: Gagosian Gallery. Sammlung Rosenkranz. Wuppertal: Von der Heydt Museum. Zelevansky, Lynn: Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collection. Los Angeles: Los Angeles County Museum of Art. 2000 Antonelli, Paola / Siegel, Joshua / Varnedoe, Kirk: Modern Contemporary: Art at MoMA since 1980. New York: Museum of Modern Art. Auping, Michael / Benezra, Neal David / Garrels, Gary: Celebrating Modern Art: The Anderson Collection. San Francisco: San Francisco Museum of Modern Art. Baker, Kenneth / Butler, Cornelia H. / Jones, Caroline A.: The Legacy of a Collector: Panza. Los Angeles: Museum of Contemporary Art. Barron, Stephanie / Bernstein, Sheri / Fort, Ilene Susan: Made in California: Art, Image and Identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art. Blazwick, Iwona / Wilson, Simon P.: Tate Modern. The Handbook. University of California Press. Frick, Thomas / Zelevansky, Lynn: Robert Therrien. Los Angeles: Los Angeles County Museum of Art. Myers, Terry R. / Self, Dana: Robert Therrien. Kansas City: Kemper Museum of Contemporary Art.
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  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue.
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  • Stacked Plates, Butter)” 2007 by Robert Therrien
    Spotlight Paper by Joe Garcia, 2017 “No Title (Stacked Plates, Butter)” 2007 by Robert Therrien Robert Therrien: American, Born in 1947 Chicago, Illinois and currently resides in Los Angeles, Ca. Artists Background: Mr. Therrien was born into a middle-class household in Chicago. The family then moved to the San Francisco Bay Area when he was 5, partly to seek treatment for his asthma. Education: Because he was always sick and holed up in his house, he honed a talent for drawing. After high school, he did a stint in Oakland at the California College of Arts and Crafts (now the California College of the Arts) but a missed date in traffic court and a pile of neglected warrants led him to flee to Southern California. (“It just became a nightmare,” he said). In 1970, he enrolled in photography studies at the Brooks Institute in Santa Barbara while also studying painting at the affiliated Santa Barbara Art Institute. “I think things really changed,” he said, “when I met this one teacher” — the painter James Jarvaise, whose work had been shown at the Museum of Modern Art. Mr. Jarvaise his teacher in Santa Barbara remembers Mr. Therrien as “a very quiet fellow, and his paintings followed the same suit.” Mr. Jarvaise describes them as elegant abstractions in the lyrical style then known as Abstract Impressionism. In 1971, Therrien received a Bachelors of Fine Arts Degree at Brooks College. His then teacher encouraged Mr. Therrien to pursue a MFA degree at the University of Southern California where he got one in 1974.
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  • “Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
    A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition.
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  • Project Windows 2018 John Singer Sargent and Chicago's Gilded
    February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer
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  • Andy Warhol Who Later Became the Most
    Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15.
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  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
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  • Quick Facts from the Modern Docent Newsletter
    Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings.
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  • Roy Lichtenstein: History in the Making, 1948–1960
    Roy Lichtenstein: History in the Making, 1948–1960 Parrish Art Museum August 1–October 24, 2021 Roy Lichtenstein (American, 1923–1997), Self-Portrait at an Easel, ca. 1951–52. Oil on canvas, 34 1/16 x 30 1/8 inches. Private collection. Premiering at the Parrish Art Museum and traveling to the Nasher Museum of Art at Duke University and the Colby College Museum of Art, Roy Lichtenstein: History in the Making, 1948–1960 will be the first major museum exhibition to investigate the early work of one of the most celebrated American artists of the 20th century. “The Parrish is thrilled to be hosting this extraordinary survey of work from the artist’s fruitful formative years and privileged to be the premier public venue for the exhibition. Roy Lichtenstein’s long history with the East End of Long Roy Lichtenstein, Pilot, ca. 1948. Pastel, graphite pencil on colored paper, 10 Island and his deep affection for the 1/2 x 13 3/4 inches. Collection of the Whitney Museum of American Art, New York. The Roy Lichtenstein Study Collection; gift of the Roy Lichtenstein region make this a singular occasion Foundation, 2019.43. to celebrate his legacy as we welcome visitors from far and wide.” —Alicia G. Longwell, Ph.D., Lewis B. and Dorothy Cullman Chief Curator, Art and Education Landmark Exhibition of Formative Work Providing an illuminating prologue to the artist’s well-known comics- inspired imagery, History in the Making tells the largely overlooked story of Lichtenstein’s early career, when formal experimentation and a keen eye for irony irrevocably defined his art.
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  • MAY 15 and 17, 2017
    PRESS RELEASE | NEW YORK | 2 3 FEBRUARY 2017 | FOR IMMEDIATE RELEASE INCLUDING WORKS BY CHAGALL, DUBUFFET, LICHTENSTEIN AND PICASSO TO BE OFFERED IN NEW YORK ALL PROCEEDS TO BENEFIT CLEVELAND CLINIC HEART & VASCULAR INSTITUTE MAY 15 and 17, 2017 LEFT: Pablo Picasso, Femme assise dans un fauteuil, Painted in Montrouge and Paris, 1917-1920 ($20,000,000-30,000,000) CENTER: Roy Lichtenstein, Expressionist Head, Executed in 1980 (estimate: $2,500,000-3,500,000) RIGHT: Marc Chagall, Les trois cierges, Painted in 1939 (estimate on request) New York – Christie’s presents Property from Cleveland Clinic generously donated by Mrs. Sydell Miller, which will be offered in Christie’s 20th Century Week of Impressionist and Modern Art and Post-War & Contemporary Art, May 15 and 17. All eight works — by Louise Bourgeois, Marc Chagall, Jean Dubuffet, Max Ernst, Alberto Giacometti, Roy Lichtenstein, Marino Marini and Pablo Picasso — were donated to Cleveland Clinic by Mrs. Sydell Miller, who has a long association with the hospital. All proceeds will benefit Cleveland Clinic Heart & Vascular Institute. A global tour* of highlights will commence at Christie’s London. Laura Paulson, Christie’s Chairman, remarked: “Christie’s is honored to have been entrusted with eight remarkable works that Mrs. Sydell Miller so kindly gave to Cleveland Clinic. The collection is a sweeping representation of 20th century art, which bears a figurative thread of sumptuous materiality and color. The degree of quality and cohesion possessed by this selection are the direct results
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  • FOR IMMEDIATE RELEASE Paintings, Drawings, and Sculpture MARCH
    FOR IMMEDIATE RELEASE Paintings, Drawings, and Sculpture MARCH 2008 John Berggruen Gallery is pleased to present Paintings, Drawings, and Sculpture, an exhibition of new and historical works by a selection of prominent and emerging artists. Paintings, Drawings, and Sculpture will occupy both floors of gallery space and will include work by artists Stephan Balkenhol, Jose Bedia, Los Carpinteros, Mark di Suvero, Jim Dine, Tom Friedman, Al Held, Anton Henning, Damien Hirst, Y.Z. Kami, Albert Oehlen, Nathan Oliveira, Martin Puryear, George Rickey, Joel Shapiro, Kiki Smith, Robert Therrien, and Rachel Whiteread, among others. Highlights include Jose Bedia’s bronze sculpture Gibaro en fuga (Gibaro in flight). Gibaro is a Spanish term denoting the offspring of a Spaniard and an Indian, and hints at both the multicultural background of Bedia’s birthplace, Cuba, as well as the artist’s affiliation with the Palo Monte religion. Palo Monte places importance on the idea of the “Indian” as an indigenous and mystical symbol and in divination rituals calls for the utilization of shells and disks (similar in shape to that of Gibaro en fuga) made of various materials, animal, plant or other. For Bedia, however, this gibaro also fits within his tendencies to depict the "common-man" in various journeys across the boundaries of space and time. José Bedia was born in Havana, Cuba in 1959. He graduated from the Escuela de Arte San Alejandro in Havana, in 1976 and from the Instituto Superior de Arte in Havana, Cuba in 1981. Bedia emigrated to the United States in 1993. He currently lives and works in Miami, Florida.
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  • Gagosian Gallery, Which Represented Him
    The New York Times June 24, 2019 GAGOSIAN Robert Therrien, Sculptor, Dies at 71; He Made the Mundane Monumental Mr. Therrien’s dining room table was the model for his best-known work: a 10-foot-high replica that let viewers see it from below, as a child might. Richard Sandomir Robert Therrien with his recreation of a folding table and chairs at his studio in Los Angeles. “What was fantastic was that it was not only gargantuan but totally functional,” a curator said of the work. “The legs fold like a card table’s.”© Robert Therrien/Artists Rights Society (ARS), New York. Photo: Monica Almeida/The New York Times Robert Therrien, whose lifelong fascination with household objects like tables and chairs and pots and pans led him to recreate them as colossal sculptures, died on June 17 at his home in Los Angeles. He was 71. The cause was cancer, said Dean Anes, the liaison to Mr. Therrien from the Gagosian Gallery, which represented him. It was in the 1970s and ’80s that Mr. Therrien began drawing and sculpting generic things familiar to him from childhood: snowmen, keyholes, a coffin, a bird, a chapel, a hat on a stand. Those modest-size, Minimalist works yielded in the 1990s to larger, more daring sculptures that toyed with perspectives of dimensions and space while adhering to realism. For his best-known work, “Under the Table” (1994), he reproduced his dining room table in comically huge dimensions. At 10 feet high, 20 feet long and 12 feet wide, the table (and six chairs) is fit for a gathering of giants.
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