TO BENEFIT Henry Street Settlement
ORGANIZED BY Art Dealers Association of America
March 1–6, 2016 PARK AVENUE ARMORY AT 67TH STREET, NEW YORK CITY
FOUNDED 1962 MEDIA MATERIALS
Lead sponsoring partner of The Art Show
The ADAA Announces Program Highlights at the 2016 Edition of The Art Show
Images (left to right): Barbara Kasten, Architectural Site 15, 1986, Cibachrome, Courtesy the artist and Bortolami, New York; Jules Olitski, Moon Momma, 1992, Acrylic on canvas. Courtesy Paul Kasmin Gallery, Licensed by VAGA, New York, NY; Henri Matisse, Femme à l’ombrelle, 1919, Oil on canvas board, Courtesy Acquavella Galleries, New York.
Program Features Keynote Speech by Americans for the Arts President and CEO Robert Lynch and the Annual Art Show Gala
ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 2 – 6, 2016
To download hi-res images of highlights of The Art Show, click here.
New York, January 28, 2016—The Art Dealers Association of America (ADAA) today announced program highlights of the 2016 edition of The Art Show. The nation’s most respected and longest-running art fair, will take place on March 2-6, 2016 at the Park Avenue Armory in New York, with a Gala Preview on March 1 to benefit Henry Street Settlement. This year the ADAA is pleased to welcome Robert Lynch, President and CEO of Americans for the Arts, as The Art Show’s keynote speaker who will discuss the role of the arts in America’s economic landscape on Friday, March 4, 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, 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 pioneering specialist in the fine art and collectibles insurance space, has returned for the fifth consecutive year as Lead Partner.
“Thoughtfully curated, high quality presentations are a signature of The Art Show—a unique art fair created and organized by a community of art dealers, rather than by an art fair operator. The show's intimate scale which encourages one-on-one interactions between visitors, experienced dealers, and artworks—represents an emphasis on meaningful and lasting relationships, beyond just transactions,” remarked Adam Sheffer, newly appointed ADAA president and Cheim & Read partner and sales director.
ADAA Member Presentations at The Art Show 2016
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.
“This year’s presentations are dynamic, ambitious, and vibrant, and speak volumes about the global breadth of art and market expertise of ADAA members. We look forward to welcoming collectors, arts professionals, and the public to experience these high-quality presentations and engage personally with experts in the field,” commented Chair of The Art Show, Anthony Meier.
Notable solo exhibitions for The Art Show 2016 include a joint presentation by Marianne Boesky Gallery and Dominique Lévy Gallery of painting, drawing, and sculpture by Frank Stella, and early work by Marilyn Minter presented by Salon 94. Paul Kasmin Gallery will present the first exhibition of seven different bodies of work by Jules Olitski, spanning 45 years of the artist’s career. In three ambitious presentations, ADAA members will re-examine the contributions of 20th century African-American artists: Michael Rosenfeld Gallery will present works by American modernist Beauford Delaney; Betty Cuningham Gallery will feature paintings by Bill Traylor; and Galerie Lelong will highlight works from the 1970s by McArthur Binion. Rare, vintage performance photographs by Carolee Schneemann will be on view from P.P.O.W, while David Nolan Gallery will present a bold installation of a single work by Barry Le Va, retracing his groundbreaking investigations in sculpture from the late 1960s.
First-time Art Show exhibitor, Haines Gallery of San Francisco, will bring kaleidoscopic sculptures and works on paper by Monir Farmanfarmaian, following her critically acclaimed retrospective at the Guggenheim Museum. Other newcomers include Hauser & Wirth, presenting works by the Modernist Italian sculptor, installation artist, and poet Fausto Melotti, and Tilton Gallery will debut new sculptures by Chicago-born artist Simone Leigh, whose work explores female African-American subjectivity.
A number of presentations will feature new works displayed publicly for the first time at The Art Show, such as mechanical sculptures and works on paper by installation artist Rebecca Horn at Sean Kelly Gallery, new photographic work by Gillian Wearing at Tanya Bonakdar Gallery, and recent Hernan Bas paintings influenced by mythology and literature at Lehmann Maupin. Tibor de Nagy Gallery will present new non-objective paintings by Andrew Masullo, and Cheim & Read will feature recent works by prominent American artist Ron Gorchov. In a thought-provoking juxtaposition of sculpture and photography, Bortolami will pair new sculptural works by Tom Burr with Barbara Kasten's Architectural Sites from the 1980s. Additionally, noted sculptor Deborah Butterfield will create two large-scale bronze works especially for the fair, presented by Danese /Corey.
On Wednesday, March 2, at 2:00 p.m. and 6:00 p.m., Cuban-American artist Maria Elena González will debut her first public performance of Tree Talk, as part of her installation at Hirschl & Adler Modern. Performed on a player piano, the piece translates the bark patterns of birch tree into music. Subsequent performances will played by a pianolist twice each day on Thursday, March 3 through Saturday, March 5, at 2:00 p.m. and 6:00 p.m., and on Sunday, March 6, at 2:00 p.m.
Several member galleries will present group exhibitions of stimulating artistic juxtapositions. As part of Rhona Hoffman Gallery’s group exhibition Cut, Sliced, Stitched, Torn, new works by emerging artist Natalie Frank will be shown alongside established international artists such as Alighiero Boetti, Spencer Finch, Lucio Fontana, Jim Hodges, Gordon Matta-Clark, and Richard Tuttle, exploring the gesture of cutting, tearing, and stitching in artists’ practices from 1966 to the present. An equally ambitious exhibition presented by Howard Greenberg Gallery and Hans. P. Kraus Jr. Inc. will explore the Photo-Secession movement—founded in 1902 by Alfred Stieglitz to advance photography as an art form—through photographs by Alfred Stieglitz, Edward Steichen, Clarence White, Alvin Langdon Coburn, and Gertrude Käsebier, among others.
The Art Show 2016 Special Events and Programming
The Art Show will open with a Gala Preview on Tuesday, March 1, at 5:30 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. Tickets range from $175 to $2,000, and are available to purchase online here or by contacting Henry Street Settlement at 212-766-9200 ext. 248.
On Friday, March 4, President and CEO of Americans for the Arts Robert Lynch, will present a keynote speech “Art & America: The Role of the Arts in America’s Economic Landscape”. With more than 40 years of experience in the arts industry and 30 years of leadership at Americans for the Arts, Lynch is motivated by his personal mission to empower communities and leaders to advance the arts in society, and in the lives of citizens. The keynote is an annual highlight of The Art Show and one of many public programs presented by the ADAA throughout the year.
The Art Show 2016
Wednesday, March 2 through Friday, March 4, 12:00 p.m. to 8:00 p.m. Saturday, March 5, 12:00 p.m. to 7:00 p.m. Sunday, March 6, 12:00 p.m. to 5:00 p.m.
Location: The Park Avenue Armory, Park Avenue and 67th Street, New York
Tickets: $25 per day. Available online here or at the door. All proceeds from ticket sales benefit Henry Street Settlement.
The Art Show Gala Benefit Preview The Art Show Gala Benefit Preview will be held on Tuesday, March 1, 2016, from 5:30 p.m. to 9:30 p.m. to benefit Henry Street Settlement. Tickets are available online here or through Henry Street Settlement at 212.766.9200 ext. 248. The evening will be in partnership with David Yurman.
Keynote Speech: Robert Lynch, President and CEO of Americans for the Arts Friday, March 4, 6:00 p.m. The Board of Officers Room at The 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.
The full list of ADAA member presentations at the 2016 edition of The Art Show includes:
303 Gallery Multimedia works by Nick Mauss Acquavella Galleries, Inc. Selection of Impressionist, Modern, and Postwar masterworks, including paintings by Lucian Freud and Henri Matisse Adler & Conkright Fine Art Exhibition exploring abstract movements of the 1910s and 1920s across Europe, United States and Latin America Alexander and Bonin Paintings of architectural and pastoral spaces by Stefan Kürten Brooke Alexander, Inc. Artists working in sets or series: Works by Josef Albers, John Baldessari, Donald Judd, Sol LeWitt, Barnett Newman, Ed Ruscha, and Andy Warhol John Berggruen Gallery Selection of pivotal works in the gallery's history to celebrate its 45th anniversary Peter Blum Gallery Small paintings of portraits and landscapes by Alex Katz Marianne Boesky Gallery and Joint presentation of paintings, drawings, and sculptures by Frank Stella Dominique Lévy Gallery Tanya Bonakdar Gallery New work by Gillian Wearing Bortolami Barbara Kasten's Architectural Sites from the 1980s and new sculptural works by Tom Burr Cheim & Read New paintings by Ron Gorchov James Cohan Gallery New paintings by Trenton Doyle Hancock Thomas Colville Fine Art "In Foreign Lands: Artists Abroad": Paintings and works on paper by significant painters of the 19th and 20th centuries CRG Gallery Works by mid-century Italian sculptor Leonardi Leoncillo Crown Point Press Video and new etchings by Marcel Dzama Betty Cuningham Gallery Works by 20th-century African-American artist Bill Traylor Danese / Corey Large-scale sculptures created for The Art Show by Deborah Butterfield Maxwell Davidson Gallery Motion and Color Theory: Selection of works by Optic and Kinetic artists Tibor de Nagy Gallery New non-objective paintings by Andrew Masullo
Richard L. Feigen & Co. Selection of surrealist works and 20th-century collage, including works by Joseph Cornell, Jean Dubuffet, James Rosenquist, and never-before- exhibited collages from the Ray Johnson Estate Debra Force Fine Art, Inc. "Isolation": Exhibition portraying the varying perspectives of American artists from the first half of the 20th century
Fraenkel Gallery "Edward Hopper & Company": Exhibition of Hopper watercolors and works by photographers he influenced, including Robert Adams, Diane Arbus, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander, and Stephen Shore Peter Freeman, Inc. Paintings by Catherine Murphy Galerie St. Etienne Selection of works by German Expressionists James Goodman Gallery Selection of works by modern and contemporary masters Marian Goodman Gallery Works on paper and recent sculpture by Arte Povera artist Giuseppe Penone Alexander Gray Associates Paintings and works on paper from Jack Tworkov's Knight Series (1975-77) Richard Gray Gallery Selection of works by modern and contemporary masters Howard Greenberg Gallery and Joint presentation of photographs by Photo-Secessionists, including Hans P. Kraus, Jr. Inc. Alfred Stieglitz, Edward Steichen, Clarence White, Alvin Langdon Coburn, Gertrude Käsebier, Frederick Evans, Karl Struss Haines Gallery Kaleidoscopic sculptures and works on paper by Monir Farmanfarmaian Hauser & Wirth Sculpture from the Estate of Fausto Melotti Hirschl & Adler Modern Site-specific installation and live performance by Maria Elena Gonzalez from the series Tree Talk Rhona Hoffman Gallery "Cut, Sliced, Stitched, Torn": Exhibition exploring the gesture of cutting, tearing, and stitching in artists' practices Paul Kasmin Gallery Exhibition of seven bodies of work spanning 45 years by Jules Olitski Sean Kelly Gallery New mechanical sculptures and works on paper by German artist Rebecca Horn Kohn Gallery "The Continental Divide: East and West Coast c. 1960-80" Barbara Krakow Gallery Exhibition of artists utilizing text or installation-based elements, including Robert Barry, Richard Artschwager, Daniel Buren, Franz Erhard Walther, Allan McCollum, and Allen Ruppersberg Lehmann Maupin New paintings by Hernan Bas Galerie Lelong Selected works from the 1970s by McArthur Binion Jeffrey H. Loria & Co., Inc. "Spain and Its 20th-Century Masters: Picasso, Miro, and Dali" Luhring Augustine Drawings and sculpture by David Musgrave Matthew Marks Gallery Selection of work by Robert Gober, Jasper Johns, Ellsworth Kelly, Martin Puryear, and Charles Ray
Mary-Anne Martin/Fine Art Exhibition of Surrealist paintings, drawings and sculpture by 20th- century Mexican artists Barbara Mathes Gallery Exhibition exploring the legacy of Surrealism in contemporary art, including works by Joseph Cornell, Pier Paolo Calzolari, Karen Kilimnik, Yayoi Kusama, Ed Ruscha, and Lucas Samaras Anthony Meier Fine Arts New work by Jasmin Sian Menconi + Schoelkopf Fine Art, LLC Selection of American modernist works circa 1913-50 Metro Pictures Drawings from the 1970s and 1990s and new paintings by Jim Shaw Mnuchin Gallery Selection of leading examples of American minimalism Donald Morris Gallery, Inc. A selection of works by 20th century American and European artists, including paintings by Bob Thompson David Nolan Gallery Installation of a single work by Barry Le Va, retracing his groundbreaking investigations in sculpture during the late 1960s P.P.O.W. Pilkington-Olsoff Fine Rare vintage performance photographs by Carolee Schneemann Arts, Inc. Pace Gallery Historic boxes and pin works by Lucas Samaras Pace/MacGill Gallery 20th and 21st-century photographs featuring a range of subjects shown solely from behind Pace Prints & Pace Primitive Selection of prints from the second half of the 20th century Michael Rosenfeld Gallery, LLC Paintings by American modernist Beauford Delaney Mary Ryan Gallery, Inc. Drawings, prints, selected photographs, and video by Hugo Gellert
Salon 94 Early work by Marilyn Minter Julie Saul Gallery Richard Artschwager's Locations (in six parts) from 1969 and photographs from Bill Jacobson's Place (Series) Susan Sheehan Gallery Postwar prints and works on paper by Ellsworth Kelly, Cy Twombly, Brice Marden, Richard Diebenkorn Manny Silverman Gallery Selection of American abstract art from the post-World War II period Skarstedt American and international artists working since the 1970s Sperone Westwater "Passageway": Selection of works in various media by Wolfgang Laib Tilton Gallery New sculpture by African-American artist Simone Leigh Van Doren Waxter / 11R Spray-painted works by Hedda Sterne from the 1950s and new paintings by Mike Tajima Meredith Ward Fine Art "Back to Nature: Modernism Comes to America": Selection of nature- based abstractions by American modernists, including Charles Burchfield, Arthur Dove, John Marin, and Alfred Maurer Washburn Gallery "On and Off the Wall": Exhibition of works by artists working in multiple media, including Ilya Bolotowsky, Charles Hinman, Jackson Pollock, David Smith, Leon Polk Smith, Richard Stankiewicz, and Jack Youngerman
Michael Werner Paintings on paper from the late 1990s by Sigmar Polke Yares Art Projects Paintings and works on paper by Milton Avery from 1912-1962 Pavel Zoubok Gallery Sculptural work by German multimedia artist Mary Bauermeister David Zwirner Works by Sherrie Levine
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 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.
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, distributes grants to arts organizations to foster appreciation of art and art history in both public and private spheres.
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 50,000 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 Global Head of Communications Rosalind Joseph 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/Samantha Sharon 212.488.5535 212.671.5174/5154 [email protected] bescobar/[email protected]
Hauser & Wirth Paul Kasmin Gallery Peter Blum Gallery Betty Cuningham Kohn Gallery Mary-Anne Martin/ Thomas Colville Donald Morris P•P•O•W Haines Gallery Gallery Fine Art Fine Art Gallery, Inc.
A5 A7 A9 A11 A13 A15 A17 A19 A21 A23 Maxwell Davidson Gallery
Jeffrey H. A25 Loria & Co., Inc. Adler & Conkright Hirschl & Adler Modern Alexander Gray Associates Pace/MacGill Gallery Rhona Hoffman Gallery Manny Silverman Gallery Coatcheck Fine Art Crown Point Fraenkel A3 A4 A6 A8 A10 A12 A14 Danese/ Press Gallery Corey Susan Sheehan Gallery Michael Werner Galerie Lelong Lehmann Maupin Sean Kelly Gallery Richard L. Feigen & Co. A27 Luhring A2 B3 B5 B7 B9 B11 B13 A16 Augustine Emergency Exit
A1 Bortolami Acquavella Metro Pictures Van Doren Waxter/ Dominique Lévy Gallery Marianne Boesky Gallery John Berggruen Gallery Galleries, Inc. 11R A28 Park Avenue Pace B2 B4 B6 B8 B10 B12 James Gallery Entrance Cohan Gallery Mnuchin Gallery Cheim & Read David Nolan Gallery Menconi + Schoelkopf Peter Freeman, Inc. Sperone Westwater Fine Art, LLC Tibor B1 C3 C5 C7 C9 C11 C13 B14 de Nagy Gallery
D29 David Zwirner Emergency Exit Marian Goodman Gallery Tanya Bonakdar Gallery Barbara Mathes Gallery Barbara Krakow Gallery Hans P. Kraus Jr. Inc. Howard Greenberg Gallery
D2 303 C2 C4 C6 C8 C10 C12 Skarstedt Julie Gallery Saul Salon 94 Alexander and Bonin Pace Prints & Yares Art Projects Washburn Gallery Pavel Zoubok Gallery Gallery Michael Pace Primitive Ronsenfeld Gallery, C1 D3 D5 D7 D9 D11 D13 C14 D28 LLC
D4 CRG Gallery Richard Gray Gallery Matthew Marks Gallery James Goodman Debra Force Tilton Gallery Brooke Alexander, Inc. Mary Ryan Gallery Meredith Ward Galerie St. Etienne Anthony Meier Fine Arts Gallery Fine Art, Inc. Fine Art
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 25 cities in the U.S., representing thousands of established and emerging artists internationally. ADAA members have extensive expertise across primary and secondary markets, and established reputations for upholding 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.
Founded in 1962, the ADAA is a leader on issues pertaining to connoisseurship, conservation, scholarship, ethical practice, and public policy. Its members contribute to art historical scholarship through research, publication, and exhibition; 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 such as the rapid evolution of the art market and the growth of the arts ecology.
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 28th year, The Art Show has become synonymous with connoisseurship and expertise, underscoring the importance of the one-to-one connections between visitor, expert, 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 fifty 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 1970 to foster appreciation of art and art history in both the public and private spheres. Supported by donations from ADAA members, the Foundation supports a broad range of activity in the arts and culture community by distributing grants to museums, archives, and arts organizations.
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 ecology. 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 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 Association of America, having served in the organization’s leadership and on various committees since 2005. He has been a member of the ADAA Board of Directors since 2009, as well as Chair of The Art Show, the nation’s most respected and longest running art fair, organized annually by the 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 first 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. Photo by Chris Churchill
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 Chianti Foundation, Marfa since 2013.
ADAA Board of Directors Adam Sheffer, President Anthony Meier, Vice President Frances Beatty, Vice President Susan Dunne, Treasurer
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
Administration Linda Blumberg, Executive Director Patricia L. Brundage, Deputy Director Susan L. Brundage, Director of Appraisal Services Grace Boyd-Pollack, Administration and Programming Coordinator Nicole Casamento, Social Media Manager Nicole Castaldo, Appraisal Associate Jo Backer Laird, Counsel Gilbert S. Edelson, Counsel Emeritas
Download hi-res images at: http://bit.ly/1nc2lrn THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS 303 GALLERY ADLER & CONKRIGHT FINE ART BOOTH C1 BOOTH A4 Nick Mauss Modern Avant-Garde Movements of the Nick Mauss, known for working with drawing as a form of 20th Century notation that hovers through sculpture, architecture, and Adler & Conkright Fine Art will present works movement, will present simultaneous suites of work in various from various modernist avant-garde movements media that follow the echo and distortion of motifs as they are of the twentieth century including Russian re-iterated in very different materials. Tracing a line through Constructivism, Dada, Purism, New Realism his process of working, images recur, double, and reconfigure and Geometric Abstraction from the US, Europe themselves in drawings on paper partly hidden under sections and Latin America. of mirrored glass, drawings in glaze on ceramic plaques, or on Sonia Delaunay Composition, 1943, gouache on paper, industrially dyed book-binder’s fabric. In this reciprocal mode, a 8 ¾ × 9 ¼ in. suggestive mark in a drawing can be screened and repeated onto a sculptural form; a certain kink in a sheet of aluminum might spur the gestural momentum for painting on reverse mirrored glass. Nick Mauss Drifts, 2015, charcoal, acrylic on bookcloth mounted on aluminium, 40 × 30 in.
ACQUAVELLA GALLERIES, INC. ALEXANDER AND BONIN BOOTH B2 BOOTH D5 Impressionist, Modern and Postwar Masterworks Stefan Kürten Acquavella will be bringing a selection of paintings Alexander and Bonin will present a selection of and sculptures by modern and postwar masters new paintings by Stefan Kürten being shown for including: Miquel Barceló, Jacob El Hanani, Willem the first time. Kürten’s paintings of architectural de Kooning, Richard Diebenkorn, Lucian Freud, and pastoral spaces evoke both tranquility and Arshile Gorky, Damian Loeb, Henri Matisse, Joan unease; his interiors and landscapes are unpeopled Miró, Claes Oldenburg, Pablo Picasso, James but suggest inhabitation. He depicts various Rosenquist, and Wayne Thiebaud. styles of homes; from modernist overhang slab Henri Matisse Femme à l’ombrelle, 1919, oil on canvas board, roof houses to suburban bungalows. His work is 9 ¼ × 7 ½ in. in the collections of the Kunstmuseen Krefeld, The Montreal Museum of Fine Arts, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art. Kürten lives and works in Düsseldorf. Stefan Kürten Unfolding Shadow, 2015, ink and acrylic on primed board, 33 × 23 ½ in.
1 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS BROOKE ALEXANDER, INC. PETER BLUM GALLERY BOOTH D16 BOOTH A9 Artists Working in Sets or Series Alex Katz Brooke Alexander will present a number of different Peter Blum Gallery will present a artists focusing on work created in sets and series. focused group of small Alex Katz While each artist frequently worked with repetition portrait and landscape paintings. and groupings, the conceptual approach and visual These works, which will be no larger result varied significantly. Some of the artists than 12 × 16 inches (30.5 × 41.6 cm), included are: are painted directly from life and are Josef Albers an integral part of the artist’s practice. John Baldessari Katz’s small paintings on board are a Donald Judd reflection of his direct experience with Sol LeWitt family, friends, and the landscapes that Ed Ruscha surround his summer home in Maine. These paintings are both studies for larger Barnett Newman works and unique expressions of the artist’s intimate connection with the subject. Sol Lewitt Bands (Not Straight) in Four Directions), 1999, four Alex Katz Wildroses, 2012, oil on board, 9 × 12 in. 5 woodcuts on Zangetsu paper, 14 ⁄8 × 35 in. Edition of 75.
JOHN BERGGRUEN GALLERY MARIANNE BOESKY GALLERY BOOTH B12 BOOTH B10 20th Century Masterworks Frank Stella - Joint Presentation John Berggruen Gallery is pleased to present a with Dominique Lévy Gallery curated exhibition of 20th century masterworks “More than two dimensions but short of to celebrate the forty-five years the gallery has three, so, for me, 2.7 is probably a very been open to the public. Highlighting key examples good place to be.” – Frank Stella in Rubin, Frank Stella, 1970–1987, 77 of pieces that have played a pivotal role in our Over the course of a career that has spanned six decades, Frank Stella has continually history, we will feature Willem de Kooning, Richard pursued the question: what does it mean to make a painting? On view in Marianne Boesky Diebenkorn, Mark di Suvero, Richard Serra, Wayne Gallery and Dominique Lévy Gallery’s joint booth are examples of the artist’s commitment Thiebaud, and other important artists to the to reinvent the possibilities of painting and occupy a new pictorial space, moving further gallery’s legacy. away from the fixed geometries of his early paintings. Works on view include examples from Richard Diebenkorn Untitled, 1957-58, gouache and watercolor the Polish Village (1970s), Moby Dick (1980s), Imaginary Places (1990s), and Scarlatti K 7 on paper, 16 × 10 ⁄8 in. (2000s) series. Frank Stella, Severambia (side A), 1995, collage on paper, 66 × 257 ½ in. © 2015 Frank Stella / Artists Rights Society (ARS), New York. Courtesy the artist, Marianne Boesky Gallery, New York, Dominique Lévy, New York/London, & Sprüth Magers, Berlin.
2 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS TANYA BONAKDAR GALLERY CHEIM & READ BOOTH C4 BOOTH C5 Gillian Wearing Ron Gorchov Tanya Bonakdar Gallery is pleased to announce a solo Cheim & Read is pleased to announce an exhibition of new, presentation with renowned London based artist Gillian multi-paneled, “stacked” paintings by Ron Gorchov. Gorchov Wearing. This will represent the first solo presentation (b. 1930) first developed his unique, saddle-like stretchers in New York since 2011 for Wearing, who won the Turner in the late 1960s in an effort to diffuse the acute angles Prize in 2007, was named a lifetime member of the Royal and formalist methodologies of traditional painting. Academy in 2007 and Officer of the Order of the British Gorchov’s first stacked pieces—including his monumental Empire in 2011. This presentation will serve as the “Entrance” (1971)—were made in the early 70s. The most debut of a major new body of work: My Polaroid Years, recent of these works, each measuring over 6 feet high, comprised of 150 original polaroids from her personal are similarly composed; curved canvases, painted in vivid, archive dated 1988 - 2005, along with new large format monochromatic hues, are assembled in totem-like photographic works inspired by these early images. configurations. Gillian Wearing My Polaroid Years, 2016. © Gillian Wearing. Courtesy Ron Gorchov, ALDERAMAN, 2015, oil on linen, 77 × 36 × 12 in. the artist, Tanya Bonakdar Gallery, New York and Maureen Paley, London.
BORTOLAMI JAMES COHAN GALLERY BOOTH A28 BOOTH B14 Barbara Kasten and Tom Burr Trenton Doyle Hancock Bortolami will present works by Barbara Kasten from the James Cohan presents a solo exhibition of new last three decades. Treating her immediate environment paintings by Trenton Doyle Hancock. Hancock is as a stage, Kasten arranges architectural materials, best known for his extended series developing highlighting and challenging the body’s relationship to the intricate personal mythology of the Mounds built structures. Alongside Kasten’s photographs will be and the Vegans, two opposing universal forces new sculptures by Tom Burr. Composed of rectangles, that play out the archetypal battle between circles, and squares in steel and glass, Burr’s Grips good and evil. In a new series of work, Hancock demonstrate an undeniable formal relationship to develops the characters and the plot in this Kasten’s work. Propped, and posed, the industrial saga further, depicting moments in his own materials demonstrate how one relates to their meta-reality. This series provides the space for surroundings. him to develop and re-translate complicated Barbara Kasten Architectural Site 15, 1986, Cibachrome, 60 × 50 in. visual narratives, as well as broaden the entire scope of his created universe. Trenton Doyle Hancock Head Tread, 2015, acrylic on canvas, 10 × 8 in. © Trenton Doyle Hancock.
3 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS THOMAS COLVILLE FINE ART CROWN POINT PRESS BOOTH A17 BOOTH A27 In Foreign Lands: Artists Abroad Marcel Dzama Artists’ visual imaginations are often stimulated by Crown Point Press will present a foreign travel. We have assembled a group of paintings solo show by Marcel Dzama. His and works on paper by significant painters of the nine- new etchings include colorful images teenth and twentieth centuries that illustrate their of dancers and a portfolio of prints reaction to new surroundings and artistic movements. inspired by Goya’s “Disasters of War.” Other artists reacted to specific finds or new stylistic At the fair, we also plan to display influences they discovered through their travels such as two video works, one by the artist Theodore Gericault’s visit to the London Zoo where he and the other a documentary showing painted lions or Stanton Macdonald-Wright’s Fauvist still him at work in the Crown Point studio. “I like imposing order on chaos and turning it into life influenced by French modernism in Paris. a grandiose opera,” Dzama has said. In his art, people often wear costumers and masks. Miguel Covarrubias Rockefeller Discovering the Rivera Murals, 1933, Bats, bears, and puppets are in attendance. He works in sculpture, music video, and film, in gouache and ink on paper, 14 × 10 in. addition to his primary medium: drawing. Marcel Dzama Our Daughter’s Dance with Wisdom, 2015.
CRG GALLERY BETTY CUNINGHAM GALLERY BOOTH D26 BOOTH A11 Leonardi Leoncillo Bill Traylor CRG will exhibit the work of Italian sculptor Leonardi Born a slave in 1854 in Alabama, Bill Traylor spent Leoncillo. Leoncillo is one of the generation with Alberto his life as a farm laborer. In 1939, Charles Shannon Burri and Lucio Fontana that shaped mid century Italian encountered 85-year-old Traylor. Shannon provided art prior to the emergence of Arte Povera. His powerfully Traylor with art supplies from 1939-42. The recent expressive ceramic sculptures sough to create a dialogue and upcoming exhibitions include two at the between material and subject. He participated in several American Folk Art Museum, NY (2013), and The Venice biennials including the significant first one after Whitney Museum of American Art’s inaugural WWII in 1948. CRG will present 12 ceramic sculptures show (2015), a retrospective at the Smithsonian and 3 paintings by Burri. In collaboration with Joshua Institution, Washington, DC (2018) and a show Mack, Galleria d’Arte Maggiore, Bologna (IT) and Galleria organized by the National Gallery of Art (2017), Matteo Lampertico, Milan (IT). with travel to the Metropolitan Museum of Art, NY Leonardi Leoncillo Untitled (Senza Titlo), 1959, glazed ceramic, (2018) and the Los Angeles County Museum of 3 9 7 13 ⁄8 × 12 ⁄16 × 3 ⁄8 in. Art, CA (2018). Bill Traylor, Seated Black Cat, c. 1939–1942, pencil and poster paint on cardboard, 10 ¼ × 7 ½ in.
4 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS DANESE / COREY TIBOR DE NAGY GALLERY BOOTH A16 BOOTH D29 Deborah Butterfield Andrew Masullo Danese / Corey presents unique Using simple shapes and vibrant colors, bronze sculptures by Deborah Masullo makes nonobjective paintings Butterfield, created specifically that frequently play with figure/ground for The Art Show. Butterfield’s relationships. The deceptively straight- work stands as a consummate forward compositions involve complex portrayal of the world’s most interplays of color, form, and texture. A mystical, most consistently selection of his paintings was included recorded animal. Distinct from in the 2012 Whitney Biennial. Tibor de other artists, however, is the Nagy just announced its representation sheer monumental scale of of the artist’s work in May. He has had her sculpture. Larger than life-sized, the sculptures project imposing physical presence and solo exhibitions at André Emmerich Gallery, Joan Washburn Gallery, Feature Inc, and Mary emotional content communicated through gesture and stance. Boone Gallery. Masullo was the recipient of a 2011 Guggenheim Foundation fellowship. Deborah Butterfield 4664.1 Large Horse, 2015-16, unique cast bronze with patina, 82 × 100 ¾ × 43 ½ in. Andrew Masullo 5772, 2013, oil on canvas, 8 × 10 in. Photo: Alan Wiener. Photo: Walla Walla Foundry.
MAXWELL DAVIDSON GALLERY RICHARD L. FEIGEN & CO. BOOTH A25 BOOTH B13 Motion and Color Theory Surrealism and 20th-Century Collage Maxwell Davidson Gallery presents Motion The centerpiece of this exhibition and Color Theory, an exhibit that will is Joseph Cornell’s most complex contrast and synthesize the genres of exploration, The Crystal Cage (Portrait Optic and Kinetic art, and illustrate how of Berenice), containing material color theory and the physical definitions gathered since 1934 as a tribute both of motion inform on one another. We will to children and to the marvels of nature, include work by Victor Vasarely, Carlos art and science. Alongside boxes and Cruz-Diez, Jesus Rafael Soto, George collages by Cornell, the exhibition will Rickey, Sanford Wurmfeld, and Pedro S. include works by artists such as Ray de Movellan, dating from the 1950s to Johnson, Jess, and Bruce Conner. Often the present. mingling fact and fantasy, these artists used found objects to create intimate portraits and Victor Vasarely Vonal-Prim, 1975, oil on canvas, autonomous fictionalized worlds within their constructions, inspired by literature, science, 78 ¾ × 78 ¾ in. mythology and popular culture.
Joseph Cornell The Crystal Cage (Berenice), c. 1943, valise containing documents, 15 2⁄3 × 19 4⁄5 in.
5 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS DEBRA FORCE FINE ART, INC. PETER FREEMAN, INC. BOOTH D12 BOOTH C11 Isolation Catherine Murphy Debra Force Fine Art will exhibit significant paintings Peter Freeman, Inc. will present a booth dedicated and works on paper exploring Isolation. Spanning to painter Catherine Murphy (b. 1946), coinciding several aspects of this theme, works will portray with a major new monograph on the artist, published the varying perspectives of American artists from by Skira/Rizzoli in collaboration with the gallery. the first half of the 20th Century. Solitary buildings Murphy decodes reality as a place of constant and and abandoned objects in the works of Edward inevitable change and realizes abstract ideas through Hopper, Charles Sheeler, and Andrew Wyeth examine the exploration of everyday objects and scenes. Her the detachment from human presence found in depiction of an immediate, often intimate moment, or everyday scenes, while Charles Burchfield portrays an object’s presence, transforms our way of looking, the beauty and forbidding harshness of nature. Works by Max Weber and Grant Wood explore and leads to a transcendent idea in spite of the single figure subjects alienated from the surrounding world, while Romare Bearden examines precision of her imagery. social commentary and politically and economically charged injustices. Catherine Murphy Floribunda, 2015. Charles Sheeler Composition Around White, 1957, tempera on plexiglass, 7 ½ × 8 ¼ in.
FRAENKEL GALLERY GALERIE ST. ETIENNE BOOTH A2 BOOTH D22 Edward Hopper & Company Austrian and German Expressionists Fraenkel Gallery is pleased to present an The Galerie St. Etienne, which introduced exhibition exploring Hopper’s enormous Gustav Klimt, Oskar Kokoschka, Paula influence on postwar American photography. Modersohn-Becker and Egon Schiele to the Three important Hopper watercolors (Lombard’s United States, will be exhibiting a selection of House, 1931; Wellfleet Road, 1931; and Circus masterworks by these and other Austrian and Wagon, 1928) will be interwoven with key German Expressionists. Highlights include a photographs by Robert Adams, Diane Arbus, major nude by Paula Modersohn-Becker (who Robert Frank, Lee Friedlander, and Stephen Shore. Hopper’s respect for humble subjects, died at the age of 31 and whose work is hence his interest in the psychological, and his depth as a landscape artist are only some of the exceedingly rare). The gallery’s installation elements that may have led the writer Geoff Dyer to theorize that Hopper “could claim to be will also feature a selection of E.L. Kirchner the most influential American photographer of the twentieth century—even though he didn’t drawings from the Robert Lehman collection. take any photographs.” Egon Schiele Standing Semi-Nude with Brown and Red Vest, Edward Hopper Wellfleet Road, 1931. Back View (Torso), 1913, gouache, watercolor and pencil on paper, 18 3⁄8 × 12 5⁄8 in.
6 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS JAMES GOODMAN GALLERY ALEXANDER GRAY ASSOCIATES BOOTH D10 BOOTH A8 Modern and Contemporary Masters Jack Tworkov James Goodman Gallery is pleased to present a curated Alexander Gray Associates presents paintings group show of paintings, sculptures and works on paper and works on paper by Jack Tworkov by contemporary and modern masters. This selection of (b.1900 – d.1982) from the artist’s “Knight works will challenge the viewer to explore the continuously Series” (1975 – 77). Embodying a key moment evolving dialogue between the works and artists over time. in the progression of his conceptual approach It showcases the span and depth of the ongoing discourse to abstraction, the series underscores the and the development of significant trends throughout this artist’s interest in geometry, mark making, and time. Exhibiting works by Arp, Bourgeois, Chagall, Cornell, strategy by introducing patterns within a gridded de Kooning, Dubuffet, Francis, Kline, Léger, Lichtenstein, composition based on the various possibilities Matisse, Matta, Miró, Nevelson and Picasso. of the knight’s moves across a chessboard. Joan Miró Femme, 1968, bronze, 67 ¾ × 27 ½ × 11 in. Jack Tworkov, Knight Series #2 (Q3-75 #3), 1975, oil on canvas, 90 × 75 in. © 2015 Jack Tworkov / Licensed by VAGA, New York, NY.
MARIAN GOODMAN GALLERY RICHARD GRAY GALLERY BOOTH C2 BOOTH D6 Giuseppe Penone Modern Masters Since the 1960s and 70s, Giuseppe Penone Richard Gray Gallery makes a grand return has challenged the boundaries between man to The Art Show with a curated installation and nature in his sculptures, installations, and of Modern Masters. The installation works on paper. A member of the Arte Povera features artists long associated with the movement who sought to collapse the divide gallery such as Picasso, Dubuffet, Calder, between art and life, Penone first gained Hofmann and Avery. Of special note is a attention for his focus on the relationship major bronze by Raymond Duchamp-Villon. between nature and human beings, taking a One of the very first cubist sculptures ever special interest in materiality and emphasizing our body’s connection to the earth and the created and most likely the only cast still fact that our knowledge is derived ultimately from physical sensitivity to organic life forms. in private hands, Duchamp-Villon’s “Tête Marian Goodman Gallery will feature a selection of Penone’s works on paper and recent de Cheval,” 1914, is a masterwork of the sculpture. Included will be drawings covering two decades from the 1970s to the 1990s Parisian avant-garde and presents a rare which relate to key concepts in his work: the tree as a fluid material, breath as involuntary opportunity for collectors. sculpture. Raymond Duchamp-Villon, Tête de Cheval, 1914,
Giuseppe Penone, Untitled, 1977, watercolor, 10 × 14 3⁄8 in. (paper), 13 ¾ × 18 × 1 ½ in. (frame). cast c. 1950, bronze, 19 × 19 ¾ × 17 in.
7 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS HOWARD GREENBERG GALLERY HAUSER & WIRTH BOOTH C12 BOOTH A5 Works from the Photo-Secession - Joint Fausto Melotti Presentation with Hans P. Kraus Jr. Inc. Hauser & Wirth is pleased to participate for Howard Greenberg Gallery and Hans P. Kraus will the first time at The Art Show with a solo jointly exhibit select works from the Photo-Secession, presentation of works by Italian master Fausto a movement founded in 1902 by Alfred Stieglitz that Melotti (1901–1986). The presentation will was concerned with advancing photography as an art include a selection of important works with form. The Secessionists brought an extraordinary a special focus on the lyricism of Melotti’s degree of craftsmanship to their prints, using exotic poetic worlds bound by the geometry of his emulsions, fine quality papers, and painstaking frame. Present in the artist’s oeuvre from the techniques to produce subtle, painterly effects. early works of the 1930s until his ultimate The artists of the Photo-Secession include Alfred death in 1986, Melotti creates enigmatic and Stieglitz, Edward Steichen, Clarence White, Alvin mysterious spaces through which symbolism and narratives unfold. This presentation at Langdon Coburn, Gertrude Kasebier, Frederick The Art Show will be followed in May 2016 by Hauser & Wirth’s first-ever Fausto Melotti Evans, Karl Struss, and others. solo gallery exhibition, curated by Douglas Fogle and accompanied by a new publication. Alfred Stieglitz The Steerage, 1907. Fausto Melotti Strada, 1973, painted terracotta, brass, 36 × 48 × 12 cm.
HAINES GALLERY HIRSCHL & ADLER MODERN BOOTH A23 BOOTH A6 Monir Farmanfarmaian María Elena González Haines Gallery presents a solo exhibition of María Elena González’s “Tree Talk” is a multi-media exceptional works by the nonagenarian Iranian installation inspired by an encounter with a fallen artist Monir Farmanfarmaian, following Monir’s birch tree. Conceptually linking the bark’s patterning acclaimed 2015 retrospective at the Guggenheim to musical notation, she translated the bark through Museum. Spotlighting the artist’s talents with a drawings and rubbings into a “score” for player selection of Monir’s kaleidoscopic mirrored sculptures piano. “Tree Talk” will include fragments of the and intricate works on paper, the booth features bark along with the artist’s drawings and rubbings, contemporary and historic works, including illustrating González’s process of unlocking the important pieces that have never before been tree’s musical possibilities, and the display of offered. Monir has spent the last half-century the scrolls themselves. The installation will be creating works that fuse Persian traditions with the rounded-out with live performances of the scrolls geometric abstraction of the 20th century. by a player piano within the booth. Monir Farmanfarmaian Octagon Sculpture (side view), 2013, mirror María Elena González T2-C/D 27/8, 2015, graphite and inkjet and plaster on wood, 24 × 28 × 28 in. Photo: John Wilson White. on vellum on Japanese paper, 25 ¾ × 16 ½ in.
8 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS RHONA HOFFMAN GALLERY SEAN KELLY GALLERY BOOTH A12 BOOTH B11 Cut, Sliced, Stitched, Torn Rebecca Horn Rhona Hoffman Gallery is pleased to present an exhibition Sean Kelly presents a solo exhibition of new works by focused on the gesture of cutting and related acts like renowned German artist Rebecca Horn. The new works tearing and stitching in artists’ practices from 1966 to will be comprised of a group of carefully selected the present. The booth will showcase the depth and mechanical sculptures and works on paper of various variety of artworks that result from artists employing sizes, including some large “body landscape” paintings. these techniques. Featured artists include Derrick Adams, Together the works will reveal the artist’s continued wide Sadie Benning, Alighiero Boetti, Spencer Finch, Hamish range of interests in science and alchemy, the rational Fulton, Lucio Fontana, Susan Hefuna, Jim Hodges, Gordon and the intuitive, the meditative and the expressive, the Matta-Clark, Fred Sandback, Kiki Smith, Richard Tuttle, and Anne Wilson. A major part of mechanical and the sensual, which she has so poetically the gallery’s program has always been a commitment to representing artists early in their and effectively articulated in her work throughout the careers. Therefore, Rhona Hoffman Gallery will show new work by emerging artists Natalie past four decades. Rebecca Horn’s unique investigation Frank and Nathaniel Mary Quinn in a special section of the booth. has resulted in one of the most distinguished, compelling Nathaniel Mary Quinn Erica with the Pearl Earring, 2015, black charcoal, gouache, soft pastel, oil pastel, oil paint, and individual oeuvres in contemporary art history. paint stick, silver oil pastel on Coventry Vellum Paper, 25 ½ × 25 ½ in. (paper), 31 × 31 ¾ in. (frame). Rebecca Horn, Schreib Frucht, 2015. Courtesy the artist and Sean Kelly Gallery, New York.
PAUL KASMIN GALLERY KOHN GALLERY BOOTH A7 BOOTH A13 Jules Olitski The Continental Divide: East and West Coast Paul Kasmin Gallery is thrilled to announce c. 1960–80 a focused booth examining of work by Jules The art movements that defi ne the second Olitski. The presentation spans over 50 years half of the Twentieth Century—Pop, Conceptual, and examines seven different bodies of work, Minimalism—in the United States are enormously ranging from the Matter paintings of the 1950’s broad terms. West Coast artists, Bruce Conner, to his Late paintings of the early 2000s. John Altoon, Wallace Berman, Joe Goode, Lita Jules Olitski Odyssey: Five, 2001, water based acrylic on Albuquerque, Ed Ruscha, contribute to the varied canvas, 19 ½ × 23 ¼ in. © Estate of Jules Olitski / Licensed nuances of these great periods in Postwar American Art. Seen by VAGA, New York, NY. alongside examples of what is considered “classic” East Coast Pop, Minimal and other movements, this juxtaposition of East and West demonstrates how rich and varied American art is from this period. John Altoon Untitled (J-93), 1966, airbrush and pastel on illustrations board, 30 × 40 in. Photo: Karl Puchlik.
9 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS BARBARA KRAKOW GALLERY LEHMANN MAUPIN BOOTH C8 BOOTH B9 Engaging Issues of the Open-Ended Hernan Bas Works by Robert Barry, Tara Donovan, Haim Steinbach, Lehmann Maupin will present a solo presentation among others, engage the issues of the open-ended of works by Hernan Bas. Bas creates works through conceptual, implied and/or physical means. born of literary intrigue and tinged with nihilistic These artists use found materials, leaving them romanticism and old world imagery. He experiments identifiable, yet transforming the viewer’s experience with various techniques and materials to depict of them, so as to allow a full breadth of readings. classical subjects, often weaving together stories The works, balancing between formal, social and of adolescent adventures and the paranormal spatial concerns provide numerous opportunities to with classical poetry, religious stories, mythology, use the discoveries in one work to dovetail deeper and literature. His varied influences also include exploration and understanding of another, all while classic horror films, comics, television, art history, the subject of the viewer’s exploration is mirrored within the works. the occult, and fairy tales.
Julian Opie People 1 Coloured, 2015, continuous computer animation on 22" LCD screen, 15 ¾ × 15 ¾ × 4 3⁄8 in. Hernan Bas Albino in a moonlight garden, 2014, acrylic on linen, 72 × 60 in. Courtesy the artist and Lehmann Maupin, New York and Hong Kong.
HANS P. KRAUS JR. INC. GALERIE LELONG BOOTH C10 BOOTH B7 Works from the Photo-Secession – Joint Presentation McArthur Binion with Howard Greenberg Gallery Over his forty-year career Chicago-based artist McArthur Hans P. Kraus Jr. Inc. and the Howard Greenberg Gallery Binion has developed a visual language that fuses a will exhibit select work from the Photo-Secession. Founded Minimalist approach influenced by the artist’s unique in 1902, this movement was concerned with advancing personal narrative. For the 2016 Art Show Galerie photography as an art form. Alfred Stieglitz, Edward Steichen, Lelong will present a solo presentation of McArthur Clarence White, Alvin Langdon Coburn, Gertrude Käsebier, Binion’s lesser-known, luminous, and lyrical paintings Frederick H. Evans, Heinrich Kühn and others brought an from the 1970s. As inventive in their conception as they extraordinary degree of craftsmanship to their prints and are in their materials and the artist’s technique, Binion’s favored soft focus evoking associations with painting. Hans works on aluminum and canvas exemplify what Binion Kraus will also show work by earlier photographers such as has called the alignment between his practice and “an Julia Margaret Cameron and Hill & Adamson who had an intangible and performative approach to making art.” influence on the movement. McArthur Binion, Aluminum: 109 W Broadway No. 1, 1975, oil stick and Alvin Langdon Coburn The Cloud, Bavaria, early 1900s, photogravure, dixon wax crayon on aluminum, 36 × 24 in. © McArthur Binion. Courtesy
38 4⁄5 × 28 1⁄3 cm. Galerie Lelong, New York and Kavi Gupta Gallery, Chicago. Photo: Joseph Rynkiewicz.
10 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS DOMINIQUE LÉVY GALLERY LUHRING AUGUSTINE BOOTH B8 BOOTH A1 Frank Stella – Joint Presentation David Musgrave with Marianne Boesky Gallery David Musgrave’s practice encompasses drawing, “More than two dimensions but short sculpture, painting, writing and animation, and of three, so, for me, 2.7 is probably a explores the uncertainties of representation, very good place to be.” – Frank Stella expression and process. The anthropomorphic in Rubin, Frank Stella, 1970–1987, 77 forms that structure his work are at once literal Over the course of a career that has spanned six decades, Frank Stella has continually pursued figures and abstractions; a carefully nuanced the question: what does it mean to make a painting? On view in Marianne Boesky Gallery and interrelationship of image and material results Dominique Lévy Gallery’s joint booth are examples of the artist’s commitment to reinvent the in a play between the actual and the fictional, possibilities of painting and occupy a new pictorial space, moving further away from the fixed identification and estrangement. Elusive imagery geometries of his early paintings. Works on view include examples from the Polish Village (1970s), combines with the artist’s technical precision to Moby Dick (1980s), Imaginary Places (1990s), and Scarlatti K (2000s) series. imbue the work with complex tensions, testing our Frank Stella, Severambia (side B), 1995, collage on paper, 66 × 256 in. © 2015 Frank Stella / Artists Rights Society notions of perception and the real.
(ARS), New York. Courtesy the artist, Marianne Boesky Gallery, New York, Dominique Lévy, New York/London, & Sprüth David Musgrave Basic Machine, 2015, painted aluminum, 19 ¼ × 20 7⁄8 × 7 1⁄8 in. Courtesy the artist, Luhring Augustine, Magers, Berlin. New York and Greengrassi, London.
JEFFREY H. LORIA & CO., INC. MATTHEW MARKS GALLERY BOOTH A3 BOOTH D8 Spain and its 20th Century Masters: A Selection of Represented Artists Picasso, Miro and Dali Matthew Marks Gallery will present a Jeffrey H. Loria & Co., Inc. will present an carefully selected group of paintings, examination of three Spanish Masters— sculpture, photographs, and drawings by Picasso, Miro and Dali—in a show of artists the gallery represents, including paintings, sculpture and works on paper. Katharina Fritsch, Robert Gober, Nan Most are works never before seen in the Goldin, Lucian Freud, Nayland Blake, United States. Ken Price, and Michel Majerus. Joan Miro Untitled, 1967, gouache on Japan Paper, Martin Puryear Lock, 2010, bronze, 29 ½ × 34 × 11 in.
17 7⁄8 × 24 ¼ in. © Martin Puryear.
11 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS MARY-ANNE MARTIN/FINE ART ANTHONY MEIER FINE ARTS BOOTH A15 BOOTH D24 20th Century Mexican and Jasmin Sian Latin American Artists Anthony Meier Fine Arts is pleased to Mary-Anne Martin Fine Art will feature present a suite of new works by New works by Mexican and Latin American York-based artist Jasmin Sian. if I had artists whose art was influenced by 20th a little zoo features intimately-scaled Century Modern European movements such depictions of Sian’s world—flora, fauna as Cubism and Surrealism. What evolved and scrolling banners—formed with was an Old World/New World synthesis, ink and negative space on ornately- merging avant-garde European styles with shaped brown paper bags. ancient indigenous forms in a place that Jasmin Sian if i had a little zoo, 2013, ink, André Breton called, “a surrealist country graphite and cut-outs on deli bag paper, Diptych, by nature.” 5 ¼ × 3 5⁄8 in. (each). Frida Kahlo (1907-1954), Two Nudes in the Jungle,
oil on sheet metal, 9 7⁄8 × 11 7⁄8 in.
BARBARA MATHES GALLERY MENCONI + SCHOELKOPF FINE ART, LLC BOOTH C6 BOOTH C9 Surrealism in Contemporary Art American Modernism This booth will explore the legacy of Menconi + Schoelkopf’s 2016 booth will focus on the Surrealism in contemporary art. Since widening gyre of American Modernism in the first half its rise to prominence in Paris ninety of the twentieth century. Alongside household names years ago, the movement’s foremost from the Stieglitz Circle, on view will be the distinctly preoccupations—the unconscious American takes on clean-line Modernism of Charles mind, private obsession, enigmatic Goeller, the Ash Can work of Reginald Marsh, and a juxtaposition, and escapist fantasy— look ahead to the collages of Romare Bearden. have remained primary concerns of Charles Goeller Checked Tablecloth, 1928, oil on canvas, 40 × 25 in. contemporary artistic practice. The booth will feature work from a variety of cultural and historical moments, establishing the sweeping range of the movement’s influence. Yayoi Kusma Red Shoe, mixed media,
11 5⁄8 × 15 5⁄8 × 4 ¾ in. Photo: Tim Pyle.
12 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS METRO PICTURES DONALD MORRIS GALLERY, INC. BOOTH B4 BOOTH A19 Jim Shaw Focus on Bob Thompson Metro Pictures presents 4 Donald Morris Gallery is pleased to paintings by Jim Shaw. In one work, feature late works of visionary painter Bob Shaw paints John Singer Sargent’s Thompson, on the 50th anniversary of his Madame X with exacting precision. untimely death. Thompson’s brief career left The well-known figure stands the world with a unique oeuvre, which arose elegantly in her black dress, head from figurative expressionism of the 1950’s, turned to the side with one hand while increasingly engaging in dialogue delicately resting on a table, but with the Old Masters, and crystallizing into here, Shaw paints Madame X with the singularly poetic vision of these late an elaborate seven-headed dragon masterpieces. Most were exhibited by the Gallery during the artist’s lifetime or in its 1970 bursting out from her décolleté. In another, anthropomorphic fat cats and money bags dance memorial exhibition, and have not been seen publicly for decades, other than those shown in the can-can as coins fly from their extended legs into an audience revolted by what was the 1998 Whitney retrospective. considered an obscene dance when first performed. Bob Thompson Five Cows with Blue Nude, 1965. Photo: Tim Thayer. Jim Shaw Admiral “The Refrigerator” Perry, 2016, acrylic on muslin, 48 × 72 in. Courtesy the artist and Metro Pictures.
MNUCHIN GALLERY DAVID NOLAN GALLERY BOOTH C3 BOOTH C7 Postwar and Contemporary Masters Barry Le Va Mnuchin Gallery is pleased to David Nolan Gallery will present present a selection of works by an ambitious solo exhibition of postwar and contemporary masters a single installation by Barry spanning five decades, from 1950 Le Va. Restaging a version of to 2000. Featuring a special focus his earliest groundbreaking on Minimalist and Post-Minimalist investigations in felt – which paintings and sculptures, the booth began in 1966 – our booth will will feature works by Ruth Asawa, be entirely occupied by a floor Ellsworth Kelly, Agnes Martin, “distribution”, comprised of rolls Sean Scully, Cy Twombly, and Lee Ufan. of dark gray felt, aluminum rods, Sean Scully, Triptych, 1984, oil on canvas, and steel ball bearings – all of 42 × 81 ½ in. © Sean Scully. which are thoughtfully scattered across the ground. Barry Le Va Working installation at the artist’s studio, Los Angeles, 1967. Courtesy of the artist and David Nolan Gallery, New York.
13 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS P • P • O • W PACE / MACGILL GALLERY BOOTH A21 BOOTH A10 Carolee Schneemann Subjects Shown from Behind P ∙ P ∙ O ∙ W will install a solo booth of rare vintage Pace/MacGill Gallery will present a dynamic performance photographs by Carolee Schneemann. multimedia exploration of subjects shown solely from A painter, filmmaker and pioneer of extended behind. With both humor and sincerity, the works media—from her earliest painting-constructions on view will investigate the visual and psychological through her provocative group performance Meat intrigue of subjects approached from this unique Joy, 1964, Schneemann has fearlessly engaged vantage point. The presentation will showcase some and influenced five decades of art making always of the finest examples of photography, painting and defying easy categorization. sculpture utilizing this viewpoint, including work by Carolee Schneemann Interior Scroll, 1975, gelatin silver print, Harry Callahan, Tim Eitel, Robert Frank, Paul Graham, 10 ¾ × 8 ¾ in. Photo: Anthony McCall. Courtesy C. Schneemann Peter Hujar, Martin Kippenberger, Richard Learoyd, and P ∙ P ∙ O ∙ W, New York. Richard Misrach, Michal Rovner, Lucas Samaras, Viviane Sassen, and Kiki Smith, among others. Richard Learoyd Phie on plinth (black and white), 2015, gelatin silver contact print mounted to board and mounted to aluminum. ©Richard Learoyd, 2016. PACE GALLERY PACE PRINTS & PACE PRIMITIVE BOOTH B1 BOOTH D7 Lucas Samaras Prints from 1938–2000 & Masterpieces of Tribal Art Pace will present a survey of Lucas The installation will feature iconic prints by both Samaras’s boxes and pin assemblages, European and American artists dating from 1938 highlighting his significant contributions through 2000. The earliest works will include to the rise of assemblage in the 1960s. Surrealist etchings by Miró, aquatint portraits of Breaking from Pop trends and performance Dora Maar by Picasso, and lithographs of nudes in the Happenings, Samaras produced by Matisse. Prints from the 1960s through 2000 elaborate boxes, which are reliquaries for by American artists will include important works by ephemera and theater from the artist’s Jasper Johns, Robert Rauschenberg, and Richard personal history, made of available Diebenkorn. Pace Primitive will exhibit several materials including pins and mirrored masterpieces of fine tribal art from West and glass. The bricolage of sharp objects not only represent a formal disregard for hierarchies Central Africa. of materials, but serve as autobiographical elements from Samaras’s childhood memories Henri Matisse Nadia au profil aigu, 1948, Aquatint. of war-torn Greece. © Henri Matisse / Artists Rights Society (ARS), New York. Lucas Samaras Box #7, 1963, wood, mirrors and tacks, 16 × 24 ½ × 10 in. (closed), 16 × 37 × 17 in. (open). ©Lucas Samaras, Pace Gallery. Photo: Tom Barratt / Pace Gallery.
14 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS MICHAEL ROSENFELD GALLERY, LLC SALON 94 BOOTH D4 BOOTH D3 Beauford Delaney Marilyn Minter Michael Rosenfeld Gallery will present a solo Marilyn Minter’s work explores the inter- exhibition featuring the work of Beauford Delaney section between sexuality and feminism (American, 1901–1979). An extraordinary colorist as mediated through pop culture. In her who evolved from fi gurative expressionism to lyrical early works from the 1970s and 80s, abstractions, Beauford Delaney was one of the she embarked on a series of paintings, most important African American artists of the collages and photographs which would lay twentieth century. Our selection of paintings will the ground for many of the iconic works tell his story of a painter who was born and raised from the past decade. From her photo- in Tennessee, educated in Boston (mid–1920s), realist “Kitchen” paintings featuring found a voice in New York (1929–1953), and close-ups of soiled and trash-strewn ultimately his signature style — abstraction — linoleum fl oors, to her lipstick paintings and gender-themed “Food Porn” series, Minter in Paris (1953–1979). created paintings that offered an intimate — and eroticized — view into the mundane. Beauford Delaney Self Portrait, 1962, oil on canvas, Marilyn Minter Color Blind, 1989, enamel on paper collage on canvas, 62 ¼ × 48 in. (right panel), 62 ¼ × 28 in. 25 ½ × 21 ¼ × ¾ in. (left panel), 62 ¼ × 79 in. (overall).
MARY RYAN GALLERY JULIE SAUL GALLERY BOOTH D18 BOOTH D28 Hugo Gellert Bill Jacobson and Richard Artschwager Mary Ryan Gallery presents work spanning two Julie Saul Gallery will present an exhibition decades by Hugo Gellert (1892–1985). On view of photographs by Bill Jacobson from his are paintings from the early 1920s, a selection Place (Series) in dialogue with Richard of prints from three portfolios — Century of the Artschwager’s blps, demonstrating the Common Man (1943), Das Kapital (1933), and elegant and thought-provoking relationship Aesop Said So (1936) — and ephemera from between the graphic blps that punctuate the artist’s personal effects to underscore his the spaces in which they are placed, both cultural importance as a radical art activist who indoors and out, and Jacobson’s similar fought against racism, fascism, and sexism. use of rectangular planes. Gellert’s paintings are rare. His primary output Bill Jacobson Place (Series) #512, 2011, pigment was in murals, illustration, and printmaking. print, 28 × 22 in. Edition of 7. © Bill Jacobson. He was an active contributor to radical political journals and a staff artist for New Yorker. Hugo Gellert Origin of the Industrial Capitalist, 1933, lithograph.
15 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS SUSAN SHEEHAN GALLERY SKARSTEDT BOOTH B3 BOOTH C14 Postwar American Prints Classical Works of Art from the Late 1960s and Susan Sheehan Gallery will exhibit an Early 1970s outstanding collection of Postwar American Skarstedt will present a selection of classical works prints. Notable are a rare set of etchings by of art dating from the late 1960s and early 1970s. Jasper Johns entitled The Seasons (Spring, Some of the featured artists will include Yves Summer, Fall, Winter) from 1987, a complete Klein, Jan Schoonhoven and Günther Uecker. The set of Edward Ruscha’s iconic Standard above artists’ works will demonstrate an aesthetic Stations from 1966-69, and one of Ellsworth Kelly’s monumental lithographs from the Curve representative of the culture during this time, while series of 1988. Also on view will be exceptional works by Louise Bourgeois, Cy Twombly, Joan also presenting the importance of these artists Mitchell, and Brice Marden. within a social, political and art historical context.
Edward Ruscha Standard Station, 1966, screenprint, 24 7⁄8 × 40 in. Günther Uecker Gegenläufige Struktur (Opposed Structure), 1965, oil, kaolin and nails on canvas on fibre board, 16.34 × 10.43 × 1.57 in. © 2016 Günther Uecker / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany.
MANNY SILVERMAN GALLERY SPERONE WESTWATER BOOTH A14 BOOTH C13 American Abstract Art Wolfgang Laib Many Silverman Gallery will focus Sperone Westwater will present a on American abstract art of the Post solo exhibition by German artist WWII period. Examples of many of the Wolfgang Laib, winner of the 2015 artists of that period will be on display Praemium Imperiale sculpture prize. including: Philip Guston, David Smith, The survey incorporates the natural James Brooks, Ed Corbett, Edward materials he has used through his Dugmore, Michael Goldberg, Alfred career: rice, marble, wax, wood Leslie, Sam Francis, Al Held, and and milk. Laib’s Milkstones, white Joan Mitchell. marble slabs, carved by himself and filled daily with milk, were introduced in 1979 at Sperone James Brooks Sull, 1961, oil on canvas, 78 × 92 in. Westwater. His 2013 Passageway series will be represented by sculptures of ships, constructed of folded brass sheet, sequenced in drifts of rice on aged timbers. A red sealing wax Rice House and new pastel drawings will be shown.
Wolfgang Laib Rice House, 1998, sealing wax, wood, rice, 7 7⁄8 × 38 5⁄8 × 7 in.
16 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS TILTON GALLERY MEREDITH WARD FINE ART BOOTH D14 BOOTH D20 Simone Leigh Back to Nature: Tilton Gallery will present new sculpture by Simone Modernism Comes to America Leigh. Leigh works primarily with ceramic sculpture. Meredith Ward will present an Her practice revolves around the exploration of female exhibition of nature-based abstractions African American subjectivity, influenced by both by American modernists. Artists ancient African and African American object making. include Milton Avery, Charles Burchfield, Her sculpture is informed by an ongoing interest in Arthur Dove, John Marin, Fairfield the anonymity of women’s piece-work and has evolved Porter, and others. Throughout the 20th into an obsessive repetition of form, whether in hand- century, American artists turned to their crafted roses, made petal by petal, or in glazed and native landscape to produce abstract fired cowrie shells made from watermelon molds works inspired by their observation of that evoke both ancient artifacts and open-ended the natural world. Immersing themselves in familiar environments, these artists used nature metaphors for the female body as a jumping off point for their radical explorations, and their innovations forged the path for Simone Leigh, New Work in Progress. the American vanguard. John Marin, Weehawken Sequence, c. 1910–15, oil on canvas board, 9 ½ × 12 ¼ in.
VAN DOREN WAXTER/11R WASHBURN GALLERY BOOTH B6 BOOTH D11 Hedda Stern and Mika Tajima On and Off the Wall Van Doren Waxter/11R will present a highly Many artists well known in one medium also create curated exhibition of spray painted works by extraordinary work in another. We will include Hedda Sterne (1910-2011) and Mika Tajima an artist’s work in two mediums with curious (b. 1975). Emphasizing the origins and potential exceptions of major interest. A mosaic by Jackson of this appropriated industrial technique, the Pollock from 1938-41 with a 1951 screenprint; a presentation will draw from series by Sterne mobile by Leon Polk Smith from 1963 with a 1964 and Tajima in which spray paint is vital to the painting; a Jack Youngerman 1994 sculpture with expression of two different, if not contrasting, a recent painting; and a 1938-39 bronze relief visions. The focused presentation will feature by David Smith from his series of “Medals of historic Hedda Sterne material from the 1950s Dishonor.” from the Hedda Sterne Foundation, which is represented by Van Doren Waxter; and new Jack Youngerman, Gemini, 1994, mahogany, 36 × 11 ½ in. paintings on Plexiglas made by NY-based Mika Tajima, who is represented by 11R. Hedda Sterne, N.Y. #7, c. 1955, oil on canvas, 39 × 39 ½ in. © The Hedda Sterne Foundation, Inc. / Licensed by ARS, New York, NY.
17 THE ART SHOW THE ART SHOW 2016 HIGHLIGHTS MICHAEL WERNER PAVEL ZOUBOK GALLERY BOOTH B5 BOOTH D13 Sigmar Polke Mary Bauermeister Michael Werner Gallery is pleased to present Pavel Zoubok Gallery is proud to present a works by Sigmar Polke. The gallery will exhibit solo exhibition of important works by German large paintings on paper created in the late multi-media artist Mary Bauermeister. With 1990s, a period of intense experimentation by its complex fusion of verbal and pictorial the artist with newfound painterly materials and strategies, Bauermeister’s oeuvre defies easy processes. classification, reflecting aspects of Dada, Sigmar Polke Untitled, 1999, mixed media on prepared paper, Surrealism, Fluxus, and Concrete Poetry. 78 ¾ × 59 in. Our installation will feature major works that represent the core of Bauermeister’s practice, including “No More Busoms,” 1967, a wall construction that combines several lens boxes with stones and geometric constellations. Mary Bauermeister Steinspirale, 2011, stones and glue, 35 ½ in. Courtesy the artist and Pavel Zoubok Gallery, New York.
YARES ART PROJECTS DAVID ZWIRNER BOOTH D9 BOOTH D2 Milton Avery Sherrie Levine Yares Art Projects will present a curated Sherrie Levine’s work epitomizes many of the core selection of paintings and watercolors tenets of postmodern art, incisively challenging by Milton Avery: “A Retrospective View”, notions of originality, authenticity, and identity. Since with works from 1915-1964 including the late 1970s, she has created a singular and landscape, figurative, still-life, and complex oeuvre using a variety of media, including seascape imagery. Yares Art Projects photography, painting, and sculpture. Moon Light has represented the Milton Avery Estate is part of a series of twelve “knot” paintings on for five decades and will be publishing a plywood, in which naturally occurring knots expose major catalogue reflecting fifty works over a second layer of material below. These works fifty years for an exhibit being planned for continue the artist’s longstanding interest in 2017. The installation at The Art Show integrating wood within her painting practice, in turn will be an exceptional, exclusive preview. questioning conventional opposites of construction Milton Avery Fir and Mountains, 1963, oil on canvas, (craft) and production (industry), as well as the original 52 × 60 in. versus the readymade. Sherrie Levine Yellow Moonlight After Man Ray: AP1, 2016, oil on plywood, 20 × 16 × ½ in.
18
The Art Show 2016 — Images from Select Presentations Download hi-res images at: http://bit.ly/1nc2lrn
303 Gallery
Nick Mauss, Inlay, 2015 Nick Mauss, Rustle, 2014 Aluminum leaf and acrylic on panel Glazed ceramic 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm) 13 x 17 1/2 in. (33 x 44.5 cm) Signed and dated Signed and dated verso © Nick Mauss, Courtesy 303 Gallery, New York © Nick Mauss, Courtesy 303 Gallery, New York
Nick Mauss, Untitled, 2015 Ink, charcoal on paper, partially mirrored glass 21 x 29 in. (53.3 x 73.7 cm) 21 3/4 x 29 3/4 in. (55.2 x 75.6 cm) framed Nick Mauss, Drifts, 2015 © Nick Mauss, Courtesy 303 Gallery, New York Charcoal, acrylic on bookcloth mounted on aluminium 40 x 30 in. (101.6 x 76.2 cm) Signed and dated © Nick Mauss, Courtesy 303 Gallery, New York
Acquavella Galleries
Lucian Freud, David, Pluto and Eli, 2011 Oil on canvas
10 1/8 x 16 1/2 in. Henri Matisse, Femme à l’ombrelle, 1919 Courtesy Acquavella Galleries Oil on canvas board 9 1/4 x 7 1/2 in. (23.5 x 19.1 cm) Courtesy Acquavella Galleries
Alexander and Bonin
Stefan Kürten, Forbidden Lake, 2015 Ink and acrylic on primed board 23 1/2 x 33 in. (60 x 84 cm) Stefan Kürten, Unfolding Shadow, 2015 Courtesy Alexander and Bonin, New York Ink and acrylic on primed board 33 x 23 1/2 in. (84 x 60 cm) Courtesy Alexander and Bonin, New York
Peter Blum Gallery
Alex Katz, Wildroses, 2012 Alex Katz, Ariel, 2015 oil on board oil on board 9 x 12 in. (22.9 x 30.5 cm) 12 x 16 in. (30.5 x 40.6 cm) Courtesy Peter Blum Gallery, New York Courtesy Peter Blum Gallery, New York
Alex Katz, Road, 2015 oil on board 12 x 12 in. (30.5 x 30.5 cm) Courtesy Peter Blum Gallery, New York
Bortolami
Tom Burr, grip six, 2015 Hot-rolled steel, printed stainless steel, polished stainless steel, hardware 60 x 86 x 5 in. Courtesy the artist and Bortolami, New York
Barbara Kasten, Architectural Site 16, 1986 Barbara Kasten, Architectural Site 15, 1986 Cibachrome Cibachrome 60 x 50 in. 60 x 50 in. Courtesy the artist and Bortolami, New York Courtesy the artist and Bortolami, New York
Cheim & Read
Ron Gorchov, FORMALHAUT, Ron Gorchov, RIGEL, 2015 Ron Gorchov, ALDERAMAN, 2014 Oil on linen 2015 Oil on linen 77 x 36 x 9 in. (195.6 x 91.4 x Oil on linen 77 1/2 x 36 x 9 1/2 in. 22.9 cm) 77 x 36 x 12 in. (195.6 x 91.4 x 30.5 Courtesy Cheim & Read, New Courtesy Cheim & Read, New cm) York York Courtesy Cheim & Read, New York
James Cohan Gallery (images continue on next page)
Trenton Doyle Hancock, Head Tread, 2015 Trenton Doyle Hancock, I Got Stood Up Just to Be Sat Acrylic on canvas Down, 2015 10 x 8 in. Ink and graphite on paper © Trenton Doyle Hancock 18 x 24 in. Courtesy James Cohan, New York © Trenton Doyle Hancock Courtesy James Cohan, New York
Trenton Doyle Hancock, Concerto, 2015 Trenton Doyle Hancock, Bringback, 2015 Acrylic on canvas Ink and graphite on paper 8 x 10 in. 14 x 12.5 in. © Trenton Doyle Hancock © Trenton Doyle Hancock Courtesy James Cohan, New York Courtesy James Cohan, New York
CRG Gallery (images continue on next page)
Leonardi Leoncillo, Untitled (Senza Titlo), 1959 Leonardi Leoncillo, Mutilazione, 1963 glazed ceramic glazed ceramic 24 3/8 x 4 5/16 x 4 5/16 in. (62 x 11 x 11 cm) 13 3/8 x 12 9/16 x 3 7/8 in. (34 x 31.9 x 9.8 cm) Courtesy CRG Gallery, New York Courtesy CRG Gallery, New York
Leonardi Leoncillo, Pannello, c. 1966 glazed ceramic 20 7/16 x 19 5/8 x 3 1/8 in. (52 x 50 x 8 cm) Courtesy CRG Gallery, New York
Crown Point Press
Marcel Dzama, Here's a Fine Revolution, 2015 Marcel Dzama, Our Daughter's Dance with Wisdom, Courtesy Crown Point Press 2015 Courtesy Crown Point Press
Marcel Dzama, The Beauty That is Born from the Seed of the Beast, 2015 Courtesy Crown Point Press
Betty Cuningham Gallery
Bill Traylor, Seated Black Cat, c. 1939-1942 Bill Traylor, Mexican Man Pencil and poster paint on cardboard Courtesy Betty Cuningham Gallery 10 1/4 x 7 1/2 in. Courtesy Betty Cuningham Gallery
Maxwell Davidson Gallery (images continue on next page)
Carlos Cruz-Diez, Physichromie 1760, 2012 Aluminum and serigraph on Plexiglas Courtesy Maxwell Davidson Gallery
George Rickey, Sketch for Summer, 1961 Stainless steel Max. height: 48 in. Courtesy Maxwell Davidson Gallery
Victor Vasarely, Vonal-Prim, 1975 Oil on canvas
Pedro S. de Movellán, Echelon, 2015 78 3/4 x 78 34 in. (200 x 200 cm) Powder coated aluminum and brass, brushed aluminum, Courtesy Maxwell Davidson Gallery polished aluminum, stainless steel Max. height: 47 in., max. swing: 56 in. Courtesy Maxwell Davidson Gallery
Richard L. Feigen & Co. (images continue on next page)
Ray Johnson, Untitled (Joseph Cornell Bunny with Sand and Swan), n.d. Collage on corrugated cardboard 16-3/4 by 13-1/2 in. Courtesy Richard L. Feigen & Co.
Joseph Cornell, The Crystal Cage (Berenice), c. 1943 JESS, The Master and the Misses, 1955 Valise containing documents Paste-up 15.62 x 19.81 in. 14.5 x 18 in. Courtesy Richard L. Feigen & Co. Courtesy Richard L. Feigen & Co.
Debra Force Fine Art, Inc. (images continue on next page)
Charles Ephraim Burchfield, Butterfly Festival, Charles Sheeler, Composition Around White, 1957 1949-56 Tempera on Plexiglas Watercolor and pencil on paper 7 1/2 x 8 1/4 in. 37 x 25 3/4 in. Courtesy Debra Force Fine Art, Inc. Courtesy Debra Force Fine Art, Inc.
Max Weber, Kneeling Figure, 1915 Gouache on board 10 3/4 x 6 3/8 in. Courtesy Debra Force Fine Art, Inc.
Fraenkel Gallery (images continue on next page)
Edward Hopper, Lombard's House, 1931 Robert Adams, Interstate 25. Colorado Springs, Courtesy Fraenkel Gallery, San Francisco Colorado, 1968-1972 © Robert Adams, Courtesy Fraenkel Gallery, San Francisco
Edward Hopper, Wellfleet Road, 1931 Lee Friedlander, Kentucky, 1977 Courtesy Fraenkel Gallery, San Francisco © Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco
Peter Freeman, Inc.
Catherine Murphy, Floribunda, 2015 Courtesy the artist and Peter Freeman, Inc.
Galerie St. Etienne (images continue on next page)
Egon Schiele, Seated Nude, Back View, 1911 Egon Schiele, Standing Semi-Nude with Brown Gouache and pencil on paper and Red Vest, Back View (Torso), 1913 Initialed and dated, lower right. Gouache, watercolor and pencil on paper 17 1/2 x 12 1/8 in. (44.5 x 30.8 cm) Signed and dated, lower center Kallir D. 810 18 3/8 x 12 5/8 in. (46.7 x 32.1 cm) Courtesy Galerie St. Etienne, New York Related to the unfinished paintings Encounter (Kallir P. 259) and Conversion (Kallir P. XLIII); Kallir D. 1374 Courtesy Galerie St. Etienne, New York
Oskar Kokoschka, Anna Kallin, 1921 Oskar Kokoschka, Bob Gesinus-Visser II (with Dog), 1933 Black chalk on cream paper Mixed media on canvas Signed, lower right Initialed, center left 25 3/4 x 19 1/2 in. (65.4 x 49.5 cm) 36 x 29 5/8 in. (91.4 x 75.2 cm) Study for the painting Die Sklavin (The Slave Wingler 275. Girl; Winkler/Erling 153) in the St. Louis Art Courtesy Galerie St. Etienne, New York Museum Courtesy Galerie St. Etienne, New York
Paula Modersohn-Becker, Reclining Female Nude, 1905-06. Oil on canvas Initialed "P.M-B.," lower left 28 x 44 1/2 in (71.1 x 113 cm) Busch/Schicketanz/Werner 631 Oskar Kokoschka, Girl on Red Sofa, 1921 Courtesy Galerie St. Etienne, New York Watercolor on machine-made Bütten paper. Signed, lower right 26 x 19 1/2 in. (66 x 49.5 cm) Courtesy Galerie St. Etienne, New York
Marian Goodman Gallery (images continue on next page)
Giuseppe Penone, Indistinti confini - Trebia (Indistinct Giuseppe Penone, 35 unghiate, 1989 Boundaries - Trebia), 2012 4 elements; paper, plaster Marble, bronze 27 9/16 x 20 1/16 in. (70 x 51 cm) (each) 55 1/8 x 62 15/16 x 27 1/2 x 9 7/16 in. (160 x 70 x 24 cm) 40 3/16 in. (140 x 102 cm) (overall) Courtesy Marian Goodman Gallery Courtesy Marian Goodman Gallery
Giuseppe Penone, Untitled, 1977 Watercolor Paper: 10 x 14 3/8 in. (25.4 x 36.5 cm), Frame: 13 3/4 x 18 x 1 1/2 in. (34.9 x 45.7 x 3.8 cm) Courtesy Marian Goodman Gallery
Alexander Gray Associates (images continue on next page)
Jack Tworkov, Knight Series #8, 1977 Oil on canvas Jack Tworkov, Knight Series #2, 1975 90 x 72 in. Oil on canvas ©2015 Jack Tworkov/Licensed by VAGA, New 90 x 75 in. York, NY © 2015 Jack Tworkov/Licensed by VAGA, New Courtesy Alexander Gray Associates, New York York, NY Courtesy Alexander Gray Associates, New York
Jack Tworkov, Knight Series - Pencil on paper #10, 1975 Graphite and colored pencil on paper 29 x 23 in. ©2015 Jack Tworkov/Licensed by VAGA, New York, NY Courtesy Alexander Gray Associates, New York
Richard Gray
Raymond Duchamp-Villon, Tête de Cheval Pablo Picasso, Tête d'homme et nu assis,1964 1914, cast c. 1950 oil on canvas Bronze 17 15/16 x 21 5/8 in. 19 x 19 3/4 x 17 in. Courtesy Richard Gray Gallery Courtesy Richard Gray Gallery
Howard Greenberg Gallery and Hans P. Kraus, Jr. Inc.
George H. Seeley, Untitled, 1916 Courtesy Howard Greenberg Gallery
Alfred Stieglitz, The Steerage, 1907 Courtesy Howard Greenberg Gallery
Frederick H. Evans, Crepuscule au Edward Steichen, William Alvin Langdon Coburn, The Printemps, circa 1900 Merritt Chase, 1904 Cloud, Bavaria, early 1900s Platinum print Gum bichromate over Photogravure 23.8 x 17.4 cm platinum print 38.8 x 28.3 cm Courtesy Hans P. Kraus Jr., New 44.1 x 28.1 cm Courtesy Hans P. Kraus Jr., New York Courtesy Hans P. Kraus Jr., York New York
Haines Gallery
Monir Farmanfarmaian, Muqarnas One, 2012 Monir Farmanfarmaian, Octagon Sculpture, 2013 Mirror and reverse-glass painting on plaster and wood Mirror and plaster on wood 32 x 45 x 31.5 in. 24 x 28 x 28 in. Courtesy the artist and Haines Gallery Courtesy the artist and Haines Gallery Photo by Filipe Braga Photo by John Wilson White
Monir Farmanfarmaian, Third Family – Decagon, 2011 Mirror, reverse-glass painting, and PVC 46 x 48 x 11.5 in. Courtesy the artist and Haines Gallery Photo by Robert Divers Herrick
Hauser & Wirth
Fausto Melotti, Gran Pavese Fausto Melotti , Da Shakespeare (After Shakespeare), Brass, painted fabric 1977 42 x 33 x 5.5 cm Brass, painted fabric Courtesy Hauser & Wirth 88.3 x 69.5 x 36 cm Courtesy Hauser & Wirth
Fausto Melotti, Strada, 1973 Painted terracotta, brass 36 x 48 x 12 cm Courtesy Hauser & Worth
Hirschl & Adler Modern
María Elena González, Skowhegan Birch #1 María Elena González, T2-C/D 27/8, 2015 Laser cut player piano scroll Graphite and inkjet on vellum on Japanese paper Edition of 4 25 3/4 x 16 1/2 in. Courtesy the artist and Hirschl & Adler Modern, Courtesy the artist and Hirschl & Adler Modern, New York New York
María Elena González, Skowhegan Birch #1 Video still Courtesy the artist and Hirschl & Adler Modern, New York
Paul Kasmin Gallery
Jules Olitski, Basium Blush, 1960 Jules Olitski, Moon Momma, 1992 Magna on canvas Acrylic on canvas Initialed "J.O" on the reverse; further dated "1960" Signed, dated and titled on back along the overlap 68 1/4 x 69 1/4 in. (173.4 x 175.9 cm) 79 x 109 in. (200.7 x 276.9 cm) Licensed by VAGA, New York, NY Licensed by VAGA, New York, NY Courtesy Paul Kasmin Gallery Courtesy Paul Kasmin Gallery
Kohn Gallery (images continue on next page)
John Altoon, Untitled (J-93), 1966 Airbrush and pastel on illustrations board 30 x 40 in. Courtesy Kohn Gallery, Los Angeles Photo by Karl Puchlik
Wallace Berman, Untitled (19 iron cross and spider top left), c. 1968- Robert Ryman, Untitled, 1964 75 New masters vinyl polymer acrylic, press-type, on 25 image verify thin unstretched cotton 33 1/2 x 30 1/2 in. 8 1/2 x 8 1/4 in. Courtesy Kohn Gallery, Los Angeles Courtesy Kohn Gallery, Los Angeles Photo by Karl Puchlik
Lehmann Maupin (images continue on next page)
Hernan Bas, The Guru, 2013-14 Acrylic on linen Three parts, each: 84 x 72 in. (213.4 x 182.9 cm); 84 x 216 in. (213.4 x 548.6 cm) (overall) Courtesy the artist and Lehmann Maupin, New York and Hong Kong
Hernan Bas, Albino in a moonlight garden, 2014 Hernan Bas, The Flamingo Kid, 2015 Acrylic on linen Acrylic on linen 72 x 60 in. (182.9 x 152.4 cm) 84 x 72 x 2 in. (213.4 x 182.9 x 5.1 cm) Courtesy the artist and Lehmann Maupin, New Courtesy the artist and Lehmann Maupin, New York and Hong Kong York and Hong Kong
Galerie Lelong
McArthur Binion, Circuit Landscape: No. 5, 1972 McArthur Binion, Aluminum: 109 W Broadway Oil stick and dixon wax crayon on aluminum No. 1, 1975 25 x 32 in. Oil stick and dixon wax crayon on aluminum © McArthur Binion 36 x 24 in. Courtesy Galerie Lelong, New York and Kavi Gupta © McArthur Binion Gallery, Chicago Courtesy Galerie Lelong, New York and Kavi Photo by Joseph Rynkiewicz Gupta Gallery, Chicago Photo by Joseph Rynkiewicz
Luhring Augustine
David Musgrave, Basic Machine, 2015 David Musgrave, Repaired plane no. 2, 2014 Painted aluminum Graphite and colored pencil on paper 19 1/4 x 20 7/8 x 7 1/8 in. (49 x 53 x 18 cm) 17 1/8 x 20 in. (43.4 x 50.9 cm) Courtesy the artist and Luhring Augustine, New Courtesy the artist and Luhring Augustine, New York and Greengrassi, London York and Greengrassi, London
Barbara Mathes Gallery (images continue on next page)
Karen Kilimnik, the summer house Water soluble oil color on canvas 11 1/8 x 14 1/8 in. Courtesy Barbara Mathes Gallery John Baldessari, Double Vision: Warhol Red Photo by Tim Pyle Varnished archival print on canvas with oil paint 74 1/2 x 54 1/2 in. Courtesy Barbara Mathes Gallery Photo by Tim Pyle
Yayoi Kusma, Red Shoe Mixed media, 11 5/8 x 15 5/8 x 4 3/4 in. Courtesy Barbara Mathes Gallery Photo by Tim Pyle
Anthony Meier Fine Arts (images continue on next page)
Jasmin Sian, if i had a little zoo, 2013 Jasmin Sian, if I had a little zoo: Awosting forest (forest Ink, graphite and cut-outs on deli bag paper series), 2014 Diptych Ink, graphite and cut-outs on deli bag paper 5 1/4 x 3 5/8 in. (13.3 x 9.2 cm) each 3 3/4 x 8 1/4 in. (9.5 x 21 cm) Courtesy Anthony Meier Fine Arts Courtesy Anthony Meier Fine Arts
Jasmin Sian, if I had a little zoo: robins and pretty weed on my bike route (forest series), 2015 Ink, graphite and cut-outs on deli bag paper 4 1/2 x 6 in. (11.4 x 15.2 cm) Courtesy Anthony Meier Fine Arts
Menconi + Schoelkopf Fine Art, LLC
Reginald Marsh, The Rex Passes the Battery, 1939 Watercolor on paper 22 x 30 in. Courtesy Menconi + Schoelkopf Fine Art, LLC
Charles Goeller , Checked Tablecloth, 1928 Oil on canvas 40 x 25 in. Courtesy Menconi + Schoelkopf Fine Art, LLC
Donald Morris Gallery, Inc.
Bob Thompson, Five Cows with Blue Nude, 1965 Courtesy Donald Morris Gallery, Inc. Photo by Tim Thayer
Bob Thompson, Pieta Fragment, 1965 Courtesy Donald Morris Gallery, Inc. Photo by Tim Thayer
David Nolan Gallery (images continue on next page)
Photograph of Barry Le Va, 2015 Courtesy David Nolan Gallery, New York
Barry Le Va, Working installation at the artist's Barry Le Va, Working installation at the artist's studio, Los Angeles, 1967 studio, Los Angeles, 1967 Courtesy the artist and David Nolan Gallery, New Courtesy the artist and David Nolan Gallery, New York York
P.P.O.W. (images continue on next page)
Carolee Schneemann, Interior Scroll, 1975 Carolee Schneemann, Meat Joy, 1964 Gelatin silver print Gelatin silver print 10 3/4 x 8 3/4 in. 23 3/4 x 20 1/4 in. Courtesy C. Schneemann and P.P.O.W, New York Courtesy C. Schneemann and P.P.O.W, New York Photo by Anthony McCall Photo by Al Giese
Carolee Schneemann, Fresh Blood, 1981-86 Gelatin silver print 5 x 7 in. Courtesy C. Schneemann and P.P.O.W, New York. Photo by Lisa Kaharne
Pace Gallery (images continue on next page)
Lucas Samaras, Box #7, 1963 Lucas Samaras, Box #4, 1963 Wood, mirrors and tacks Mixed media Closed: 16 x 24 1/2 x 10 in. (40.6 x 62.2 x 25.4 cm) 17 5/16 x 23 1/2 x 11 3/4 in. (44 x 59.7 x 29.8 Open: 16 x 37 x 17 in. (40.6 x 94 x 43.2 cm) cm) © Lucas Samaras, Pace Gallery Courtesy Pace Gallery Photo by Tom Barratt/Pace Gallery
Lucas Samaras, Box #90, 1974 Mixed media Open: 14 1/2 x 12 x 16 in (36.8 x 30.5 x 40.6 cm) Closed: 9 x 11 1/2 x 7 1/2 in. (22.9 x 29.2 x 19 cm) Courtesy Pace Gallery
Pace Prints & Pace Primitive (images continue on next page)
Unknown artist, Kota Reliquary Figure, 19th Robert Rauschenberg, Breakthrough I, 1964. century, Gabon Lithograph Wood, metal © Robert Rauschenberg Foundation Courtesy Pace Primitive Courtesy Pace Prints
Henri Matisse, Nadia au profil aigu, 1948 Joan Miró, Série noire et rouge, 1938 Aquatint Etching printed in color © Henri Matisse/Artists Rights Society (ARS), © Joan Miró/Artists Rights Society (ARS), New New York York Courtesy Pace Prints Courtesy Pace Prints
Pablo Picasso, Tête de femme, 1939 Aquatint printed in color © Pablo Picasso/Artists Rights Society (ARS), New York Courtesy Pace Prints
Michael Rosenfeld Gallery, LCC
Beauford Delaney, Untitled (Bird and Star), 1951 Oil on canvas 40 1/2 x 60 1/4 in. Signed and dated Courtesy Michael Rosenfeld Gallery LLC, New York, NY
Beauford Delaney, Reve, c. 1959 Beauford Delaney, Self Portrait, 1962 Oil on canvas Oil on canvas 39 3/8 x 32 in. 25 1/2 x 21 1/4 x 3/4 in. Signed Signed and dated Courtesy Michael Rosenfeld Gallery LLC, New Courtesy Michael Rosenfeld Gallery LLC, New York, NY York, NY
Mary Ryan
Hugo Gellert, Dive, c. 1920-1923 Hugo Gellert, Learning to Think and Work Together, Oil on panel 1943 Silkscreen Courtesy Mary Ryan Gallery Courtesy Mary Ryan Gallery
Hugo Gellert, Origin of the Industrial Capitalist, 1933 Hugo Gellert, The Fifth Column, 1943 Lithograph Silkscreen Courtesy Mary Ryan Gallery Courtesy Mary Ryan Gallery
Salon 94
Marilyn Minter, Color Blind, 1989 enamel on paper collage on canvas Overall Dimensions: 62 1/4 x 79 in. (158.1 x 200.7 cm), Right Panel: 62 1/4 x 48 in. (158.1 x 121.9 cm), Left Panel: 62 1/4 x 28 in. (158.1 x 71.1 cm) Courtesy the artist and Salon 94, New York
Marilyn Minter, Food Porn (#7), 1990 Marilyn Minter, Spill, 1976 enamel on metal oil on canvas 24 x 30 in. (61 x 76.2 cm) 60 x 60 in. (152.4 x 152.4 cm) Courtesy the artist and Salon 94, New York Courtesy the artist and Salon 94, New York
Julie Saul Gallery
Richard Artschwager, Locations (in 6 parts), 1969 Richard Artschwager, Untitled, 1996- Mixed media 2015 © Richard Artschwager Six chromogenic prints Courtesy Julie Saul Gallery, New York 4 1/2 x 6 3/4 in. image, 14 x 11 in. sheet Edition of 12 with 5 a/p © Richard Artschwager Courtesy Julie Saul Gallery, New York
Bill Jacobson, Place (Series) #425, 2010 Bill Jacobson, Place (Series) #512, 2011 Pigment print Pigment print 37 x 31 in. 28 x 22 in. Edition of 7 Edition of 7 © Bill Jacobson © Bill Jacobson Courtesy Julie Saul Gallery, New York Courtesy Julie Saul Gallery, New York
Susan Sheehan Gallery
Jasper Johns, The Seasons (Spring, Summer, Fall, Winter), 1987 The complete set of four etchings with aquatint 26 1/4 x 19 1/4 in. Courtesy Susan Sheehan Gallery
Edward Ruscha, Standard Station, 1966 Screenprint 24 7/8 x 40 in. Courtesy Susan Sheehan Gallery
Ellsworth Kelly, Red Curve, 1988 Lithograph 26 x 84 inches Courtesy Susan Sheehan Gallery
Manny Silverman Gallery
James Brooks, Sull, 1961 Edward Dugmore, Blue-Black, 1958 Oil on canvas Oil on canvas 78 x 92 in. 76 x 48 in. Signed lower right; signed, titled and dated verso Signed, titled and dated verso Courtesy the estate of the artist and Manny Silverman Courtesy Manny Silverman Gallery Gallery
Sperone Westwater (images continue on next page)
Wolfgang Laib, Milkstone, 1981 Wolfgang Laib, 3 works from the series “Passageway”, White marble, milk 2013, 2 1/2 x 18 1/8 x 23 1/4 in. Brass ships, rice, wood and steel. Courtesy Sperone Westwater Top: 6 3/4 x 71 x 12 in. overall, Middle: 6 3/4 x 111 x 12 in. overall, Bottom: 6 3/4 x 99 x 12 in. overall Courtesy Sperone Westwater
Wolfgang Laib, Rice House, 1998 Sealing wax, wood, rice 7 7/8 x 38 5/8 x 7 in. Courtesy Sperone Westwater
Tilton Gallery
Simone Leigh, New Work in Progress Courtesy Tilton Gallery
Van Doren Waxter/11R
Hedda Sterne, Road #12, c. 1957 Oil on canvas 60 x 35 in. (152.4 x 88.9 cm) Hedda Sterne, N.Y. #7, c. 1955 © The Hedda Sterne Foundation, Inc./Licensed Oil on canvas by ARS, New York, NY 39 x 39 1/2 in. (99.1 x 100.3 cm) © The Hedda Sterne Foundation, Inc./Licensed by ARS, New York, NY
Mika Tajima, Furniture Art (Islas Madeira), 2015 Mika Tajima, Furniture Art (Medina), 2015 Spray enamel, thermoformed acrylic Spray enamel, thermoformed acrylic 43 x 33 in. (109.2 x 83.8 cm) 43 x 33 in. (109.2 x 83.8 cm) Courtesy 11R Courtesy 11R
Washburn Gallery (images continue on next page)
Jackson Pollock, Untitled, c. 1938-41 Jackson Pollock (1912-56), Untitled (After CR333), 1951 Mosaic tesserae in cement with braced wooden Screenprint frame 29 x 23 in. 54 x 24 in. Courtesy Washburn Gallery Courtesy Washburn Gallery
Leon Polk Smith, Untitled, 1963 Leon Polk Smith, Correspondence-White Black, 1966 Paint on wood Oil on canvas 44 3/4 x 1 7/8 in. 52 x 35 in. Courtesy Washburn Gallery Courtesy Washburn Gallery
Jack Youngerman, Gemini, 1994 Jack Youngerman, Orangeblue, 2014 Mahogany Oil on Baltic birch plywood 36 x 11 1/2 in. 30 x 30 in. Courtesy Washburn Gallery Courtesy Washburn Gallery
David Smith, Medal For Dishonor – Diplomats, 1938-39 Cast bronze, on original mount, ed. 3 10 3/8 in. diameter Courtesy Washburn Gallery
Michael Werner
Sigmar Polke, Untitled, 1999 Sigmar Polke, Untitled, 1999 Mixed media on prepared paper Mixed media on prepared paper 26 3/4 x 39 3/4 in. (68 x 101 cm) 78 3/4 x 59 in. (200 x 150 cm) Courtesy Michael Werner Courtesy Michael Werner
Sigmar Polke, Untitled, 1999 Mixed media on prepared paper 78 3/4 x 59 in. (200 x 150 cm) Courtesy Michael Werner
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.
Distinguished by a profound connection to its neighbors, a willingness to address new problems with swift and innovative solutions and a strong record of 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 satellites 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 2015 Henry Street marked the Centennial of Abrons' Playhouse, with 12 months of world premieres and commissioned performances, scholarships for arts instruction, and residencies for creation and experimentation.
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 at www.henrystreet.org.
For additional information, please contact:
Adrian Geraldo Saldaña Special Events Coordinator Henry Street Settlement 265 Henry Street New York, NY 10002 T: (212) 766-9200 ext. 247 E: [email protected]