https://www.ivorianjones.com/new-gallery daily 0.75 2021-03-09 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615263605321-MUZ5AW9PZFUENYXZG5H8/Frank+Benson.jpg New Gallery https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615263605321-MUZ5AW9PZFUENYXZG5H8/Frank+Benson.jpg New Gallery https://www.ivorianjones.com/temp daily 1.0 2021-04-13 https://www.ivorianjones.com/nathalie-djurberg daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554565690894-OPZCPVB8LSJ886HHXM0N/djurberg.png Nathalie Djurberg - Nathalie Djurberg Nathalie Djurberg and Hans Berg Things Cut in Half and Split in Two, 2013 Polyurethane plastic with embedded electronics 16 x 12 x 18 in Edition of 20 Produced by Lisa Ivorian-Jones for the New Museum of Contemporary Art Price Upon Request In order to create this generous gift to the New Museum, the artists have, for the first time, fused both Djurberg's video and her sculpture into one object, and created an artwork into which the viewer must directly enter. The edition, in a series of 20, has been cast in polyurethane plastic from a Styrofoam sculpture of an ice cream box with a separate lid, handmade by the artist, and each slightly unique. The surface of the plastic is white and slightly transparent; surreal and otherworldly. Djurberg has created a new stop motion animation film, unique to this edition, which plays on a continual loop on a monitor imbedded inside the ice cream box, as her collaborator Hans Berg's musical score plays from speakers, also imbedded within. In Nathalie's words, she wanted to create a universe inside which, "a person's head would fit, so that you don't just look inside, but get to be inside; like falling down the rabbit hole...(casting the viewer) in space, in a sort of cosmic dance, from mundane to super-mundane, and when you take out your head from the box, you can put your whiskey glass on top of it, and forget that you have the universe next to you." The ice cream cones depicted in the film are beautifully constructed by hand from plasticine and clear polythene, and are reminiscent of the flowers in Djurberg's film for Venice, The Experiment, 2009. The artist has replaced her oft-depicted interior stage sets with a flat black background. The highly colorful concoctions exhibit humor and pathos, as they ooze, drip and float, seemingly a nod to Morris Louis, an artist who is a professed inspiration for Djurberg. Long pink tongues occasionally lick the ice creams naughtily, hands reach in with knives to cut the ice cream, and there is a psychedelic play of shape and color, as the ice creams dance and drop from an imaginary sky, pulsing all the while to Hans Berg's hypnotic music. Licking, scooping and cutting are consistent themes in Nathalie's work, as seen in films such as Tiger Licking Girl's Butt, 2004, is beautifully exploited by the inherent properties of Nathalie's malleable and child-like medium of clay plasticine. The ice creams in Things Cut in Half and Split in Two, 2013, are in essence stand-ins for human flesh. Nathalie reminds us of the psychosexual underpinnings and fantasies that are an inescapable part of our being, and the associations we bring even to something as seemingly banal and innocuous as ice cream. Once again, through her profound artworks, Djurberg forces us to re-consider the lens with which we see the world and ourselves. Nathalie Djurberg (born in Lysekil, Sweden, in 1978) received her MFA from Malmo Art Academy in 2002, and since that time she has exhibited widely in solo and group exhibitions around the world. Most notably, in 2009 she presented her installation The Experiment in the exhibition "Making Worlds" at the 53rd Venice Biennale, for which she was awarded the prestigious Silver Lion for Promising Young Artist. In 2012, Djurberg and Berg presented "The Parade," a major installation for the New Museum's Studio 231 series, and in 2008, Djurberg participated in "After Nature," curated by Massimiliano Gioni. She currently lives and works in Berlin with Hans Berg. Hans Berg (born in Rattvik, Sweden, in 1978) is a Berlin-based electronic music producer and self-taught musician. He began playing the drums in punk and rock bands at the age of fourteen. By fifteen, Berg started creating electronic music - which he has made ever since - when he purchased his first synthesizer and sampler. Berg and Djurberg met in Berlin in 2004. Since then, he has composed the music for all of her films and installations. https://www.ivorianjones.com/nathalie-djurberg-1 daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554565919674-SPBI2XEIWJE9C15WUGMM/peyton3.png Elizabeth Peyton - Elizabeth Peyton Elizabeth Peyton Isa, (Isa Genzken, 1980), 2011 18 x 13 7/8 inches Frame size: 24 7/8 X 20 3/8 inches Two printings from separate plates on Hahnemuhle copperplate 300gm paper Mixed Silver Ink Etching with Aquatint Printed by Two Palms Press Produced for the Museum by Lisa Ivorian-Jones Edition of 25 with 8 artist proofs Price Upon Request For the New Museum's Limited Edition, Elizabeth Peyton has depicted fellow artist, Isa Genzken whose monumental Rose II graces the exterior of the museum. The portrait shows Isa in a closely cropped, three-quarter turn of the head; her striking face fills the picture plane with loosely-swept brushstrokes and seductive lines. She looks out at us, penetrating the space of the drawing - vibrant and alive. In creating Isa, 2011, Peyton added Mica to the ink, in order to give it a sheen and sparkle. Hand printed, inked and wiped onto wet paper, the print is lush, evocative, and painterly. Though the subjects in Peyton's paintings vary, the main focus of her work remains remarkably consistent. Her central interest is in people who, whether through their actions, their art, or their lives, mark their time and shape our culture. Her portraits have included Napoleon, Sid Vicious, Queen Elizabeth, Frida Kahlo, Abraham Lincoln, Michelle Obama, Prince Harry, Georgia O'Keefe, and Kurt Cobain. Born in Danbury, Connecticut, in 1965, Elizabeth Peyton is widely recognized for bringing new dimensions to painting in the 1990s and is among the most celebrated painters of her generation. Her body of work, including paintings, drawings, and prints, has been shown internationally in galleries and major museum exhibitions over the past two decades, including "Live Forever: Elizabeth Peyton," New Museum of Contemporary Art, New York in 2008, which traveled to the Walker Art Center, Minneapolis, MN; Whitechapel, London; and Bonnefanten Museum, Maastricht, Netherlands. Rendered from photographs or from real life, Peyton's diverse subjects span centuries and range from artists, to aristocrats, musicians, as well as an occasional athlete, and lately, still lives. Elizabeth Peyton has chosen a White Oak frame with a white gold leaf face and natural sides and finish. Collectors may frame as they wish or follow the artist's preference. Follow Elizabeth Peyton on Instagram https://www.ivorianjones.com/nate-lowman daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554566024643-JU69RFHPPRQY10UCOR38/lowman2.png Nate Lowman - Nate Lowman Nate Lowman Courtesy Professionalism Respect (white), 2010 Courtesy Professionalism Respect (black), 2010 Painted steel 30 x 12 x 12 inches Published by Lisa Ivorian-Jones Price Upon Request Courtesy Professionalism Respect (white), 2010 and Courtesy Professionalism Respect (black), 2010 were inspired by the seven foot cross shaped boom on the back of New York Police Department tow trucks. In action, the booms ingeniously snake around under tires in order to move vehicles. Often they can be seen lying dormant - hanging off the back of trucks. This striking anthropomorphic image - culled from the city where the artist, Nate Lowman, lives and works - has been fabricated on a smaller scale than the original (2 1/2 feet tall) to create Courtesy Professionalism Respect (white)", 2010 and "Courtesy Professionalism Respect (black)", 2010, and each is slightly unique. The editions are a recreation of the tow truck boom's iconic form, made of laser cut and machined parts in steel, which have been welded together. Lowman has painted each sculpture and added a mix of different compounds to give them each a slightly different patina. He then engaged with the sculptures in the city streets- dragging them on the ground where they became both scraped up and rusted- lending them an extraordinary presence, beauty and allure. Lowman is a rule breaker. His work consistently disrupts the way in which we think we know or understand art, and its place in the world. The artworks he creates, whether they are paintings inspired by fake bullet hole decals on car windows, or the wacko rather psychotic nature of a smiley face, or a series of beautifully rusted side panels of old gas pumps from the 1920's and 1950's (that are hard to place without their fronts) - pervert an image or object's original or intended function or meaning, as he continually engages head on with the formal preoccupations of Minimalism. Lowman forces the viewer to confront new layers of meaning through his particular economy of means and mark making. To spend time with the artist or with his artwork is exciting- eyes are opened wider and expectations are wonderfully thwarted. Nate Lowman (born Las Vegas, 1979 has exhibited widely and received international acclaim for his work. Most recently, Lowman's solo exhibitions have included: "The Natriot Act", Astrup Fearnley Museum, Oslo, "Nate Lowman", The Hydra Workshop, Hydra, Greece, 2009, and "A Dog From Every County", Maccarone gallery, New York, 2009. The artist has an upcoming solo exhibition with Massimo De Carlo, London in March 2010. Selected Group Exhibitions include "Wall & Floor", Galerie Almine Rech, Paris, 2009, "Beg, Borrow and Steal", Rubell Family Collection, Miami, 2009, "Besides, With, Against and Yet: Abstraction and the Ready-Made Gesture", The Kitchen NYC, 2009 "New York Minute", curated by Kathy Grayson, MACRO, Rome, 2008 "The Cooreman Collection", Museum Dhondt-Dhaenens, Belgium, 2008, "Mapping the Studio: Artists from the François Pinault Collection", curated by Alison Gingeras and Francesco Bonami, Palazzo Grassi, Venice, Italy, 2008, "Unmonumental", The New Museum, New York, 2007. Lowman will be included in upcoming group exhibitions this spring at the Guggenheim Museum, New York, and Andrea Rosen Gallery, New York. https://www.ivorianjones.com/mark-bradford daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567278776-YPRRVKVB4S3CBFC12NFV/bradford.png Mark Bradford - Mark Bradford Mark Bradford Untitled, 2009 (unique sculptures) Mixed media, paper mache and collage Approx. 9.5 inches diameter Produced for the Museum by Lisa Ivorian-Jones Price Upon Request Untitled, 2009 (series of seven unique sculptures) are variously made from newspaper, merchant posters from the city streets of South Central Los Angeles, and silver foil - all sanded down in Bradford's own specific style of paper mache and collage, sculptural in form. Some soccer balls incorporate the use string that has been inlaid by the artist and then removed, the negative space roughly delineating the form of the soccer ball. As an African American artist living in Los Angeles, the soccer ball sculptures negotiate notions of identity and cliche, whilst breaking boundaries of cultural expectations and expanding notions of art making. As Bradford has pushed our expectations and understanding of traditional painting through his use of materials that were immediately accessible to him (such as the overlapping hair wraps used for permanents from his mother's hair salon, that were a constant in earlier paintings) Untitled, 2009 are not so readily defined or grasped. Globe like, rough, deliberately misshapen, they have the appearance of beautiful cast offs - directly referring to the urban streets from which they emerged - both by way of material, and Bradford's unmistakable hand. Mark Bradford was born in 1961 in Los Angeles, where he continues to live and work. He received both his BFA (1995) and his MFA (1997) from the California Institute for the Arts. He is the recipient of the Bucksbaum Award for his contribution to the Whitney biennial in 2006. Recent exhibitions include: ArtPace, San Antonio TX, 2008; "Contemporary Projects 11: Hard Targets—Masculinity and Sport", 2008–2009; Hammer Museum at UCLA, "Prospect.1 New Orleans", 2008- 2009; "Life on Mars, 55th Carnegie International", 2008- 2009; "Order. Desire. Light. : An Exhibition of Contemporary Drawings," Irish Museum of Modern Art, Dublin, 2008; "Collage: The Unmonumental Picture", 2008; New Museum of Contemporary Art, "Neither New Nor Correct: New Work by Mark Bradford", Whitney Museum of American Art, New York (2007); "Eden's Edge: Fifteen LA Artists", Hammer Museum at UCLA, Los Angeles (2007); and "Street Level: Mark Bradford, William Cordova, Robin Rhode", Nasher Museum, Duke University, Durham, North Carolina (2007). https://www.ivorianjones.com/mark-bradford-1 daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567318482-KCJ0GQI6INLNUSMUUV77/stingel.png Rudolf Stingel - Rudolf Stingel Rudolf Stingel Untitled (Studio Floor), 2009 Oil and enamel on canvas 23 3/4 inches x 23 3/4 inches Series of unique paintings 30 paintings Produced by Lisa Ivorian-Jones for the New Museum of Contemporary Art Price Upon Request To create Untitled (Studio Floor) 2009, Italian-born artist Rudolf Stingel (b.1956), covered parts of the artist's studio floor with different gold primed canvases. The artist chose one of these canvases to cut up into smaller square sized paintings to create this unique series presented in the Museum's Armory booth. Untitled (Studio Floor) 2009 was covered with metallic enamel paint and laid upon Mr. Stingel's studio floor, thereby exposing it to his day-to-day studio endeavors. The original painting chosen for the New Museum, is to be re-created at the Armory Fair 2009, almost as is if Mr. Stingel's studio floor had been flipped up on the wall, broken into pieces and reassembled in a grid, revealing each stage of its journey. The use of the studio floor to create work, and an avid consideration of the architecture in which his work is presented, has been a consistent theme for the artist, and can be seen in works such as his white Styrofoam paintings of 2002 or white paint splattered carpet, both exhibited in Mr. Stingel's recent Retrospective (curated by Francesco Bonami) at MCA Chicago, traveling to the Whitney Museum (both 2007). Over time, Untitled (Studio Floor), 2009 became laden with different meanings, as pieces of dirt, paint, and other daily studio materials were embedded in its minimal, formal surface. For example, one can see the remnants of paintings that were created on the studio's wall (on exhibition at Paula Cooper Gallery), as well as evidence of the artist's physical body: scuffed shoe markings and cigarette stubs. These markers of time are captured within iridescent layers of metallic paint- hovering in the realm of the sublime. Bricks (that once lay underneath the canvas) create a Minimalist repetition of rectangles across the ravaged dirty, tarnished gold surface, and impressions of a chain link fence struggle with utmost futility to contain the painting's sensual beauty in what appears to be an almost self protective gesture. Worn and astoundingly beautiful, Untitled (Studio Floor) 2009, strains to explode within the confines of the canvas. Mr. Stingel has released a layer of this inherent tension, and broken the canvas into thirty pieces to form relics of a lived past, to be carried away by individual collectors, and possibly never to be reassembled. It is both the artist's generous and loving gift, and also a remarkably violent gesture. The paintings poignantly question methods for survival within the demands of an art market, and how one can convey meaning within the limited parameters of an art fair. In an age when art production has been growing ever larger in its scope and complexity, Mr. Stingel uses an economy of means and materials to magnificent effect, as revealed in the true genius of Untitled (Studio Floor), 2009; the paintings sumptuous painterly surfaces, while evocative and historic, are also immediately present. Turning Minimalism on its head, the paintings embrace layers of meaning, and continually draw in the viewer with their undeniable beauty and allure. About Rudolf Stingel Rudolf Stingel's work has been exhibited in prominent exhibitions both nationally and internationally. He currently has a solo exhibition at Paula Cooper Gallery, New York. Most recently, it was the subject of "Rudolf Stingel: Paintings 1987-2007," a mid-career retrospective at the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art in New York. In 2004, the artist installed "Plan B," an industrially-printed pink and blue floral carpet covering the entire floor of Grand Central Terminal's Vanderbilt Hall. Previous museum shows have included one-person exhibitions at the Museo d'Arte Moderna e Contemporanea, Trento, Italy (2001) and the Museum fur Moderne Kunst, Frankfurt (2004). Rudolf Stingel participated in the 2008 Carnegie International; the 2006 Whitney Biennial and in exhibitions at the Walker Art Center, Minneapolis. Abroad, his work was included in the 1999 and 2003 Venice Biennales; Rooseum Center for Contemporary Art, Malmo, Sweden; and in "Sequence 1" at the Palazzo Grassi, Venice. Rudolf Stingel was born in 1956 in Merano, Italy and lives and works in New York City and Italy. https://www.ivorianjones.com/contact daily 0.75 2024-08-01 https://www.ivorianjones.com/about daily 0.75 2025-09-18 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/27e9dfb6-74fd-4d88-acfe-8a620fcbc570/lisa+headshot.jpg About - Make it stand out (c) Timothy Greenfield-Sanders, Courtesy of the photographer https://www.ivorianjones.com/home daily 0.75 2019-07-21 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554566857100-91H2ZX629TA3AE3RO0OL/lowman2.png Home - Nate Lowman https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554566857186-KTV087X4TQGXEVC9WEA1/peyton3.png Home - Elizabeth Peyton https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554566857395-PQLBXWK9LPNEMYTJVIKR/djurberg.png Home - Nathalie Djurberg https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567132966-OFSM30SX4E88DIKOO8DK/bradford.png Home - Mark Bradford https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567132966-1DRTUDI7OEPCDRD5JZ6F/lambie.png Home - Jim Lambie https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567133623-SR4A463PDBYLX9JB28IM/stingel.png Home - Rudolf Stingel https://www.ivorianjones.com/jim-lambie daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567360797-E4R12YB4XWGNOA9KVSIN/lambie.png Jim Lambie - Jim Lambie Jim Lambie Dubtronic, 2005 Glass 16 x 7 3/4 x 8 1/2 inches Edition of 30 with 6 Artist proofs Concrete, ceramic, metal, electric power cord and light bulbs Price Upon Request To create Dubtronic, 2005, Scottish artist, Jim Lambie cast two functional lamps in a concrete base. The sculpture lights up when a thick neon colored power cord is plugged into an outlet. The language employed in this work is similar to that of Lambie's recent sculpture The Jesus and Mary Chain, exhibited at The Carnegie International, in which objects such as hand- bags, mirror shards, and chair backs were reclaimed by the artist and fused with smooth concrete to suggest a walk through city streets. "Dub", (originally conceived in Reggae music to describe the re-interpretation of songs) can be seen to allude to the re-appropriation of objects, and "Tronic" (for electronic music) is the artist's wink to the electric lights. About Jim Lambie Lambie (b. 1964), is a musician and DJ, who frequently includes references to pop culture and rock ’n’ roll in his work. He is particularly interested in the reggae genre of dub, which involves DJs reinterpreting songs in battles with other DJs. In 2005, he was shortlisted for the Turner Prize and his works are currently held in the collections of the National Galleries of Scotland in Edinburgh, The Museum of Modern Art in New York, and the Tate Gallery in London, among others. The artist lives and works in Glasgow, United Kingdom. Follow Jim Lambie on Instagram https://www.ivorianjones.com/new-page daily 0.75 2019-07-21 https://www.ivorianjones.com/sascha-braunig daily 0.75 2019-07-21 https://www.ivorianjones.com/tim daily 0.75 2019-07-21 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1554567360797-E4R12YB4XWGNOA9KVSIN/lambie.png tim - Jim Lambie Jim Lambie Dubtronic, 2005 Glass 16 x 7 3/4 x 8 1/2 inches Edition of 30 with 6 Artist proofs Concrete, ceramic, metal, electric power cord and light bulbs To create Dubtronic, 2005, Scottish artist, Jim Lambie (b.1964) cast two functional lamps in a concrete base. The sculpture lights up when a thick neon colored power cord is plugged into an outlet. The language employed in this work is similar to that of Lambie's recent sculpture The Jesus and Mary Chain, exhibited at The Carnegie International, in which objects such as hand- bags, mirror shards, and chair backs were reclaimed by the artist and fused with smooth concrete to suggest a walk through city streets. "Dub", (originally conceived in Reggae music to describe the re-interpretation of songs) can be seen to allude to the re-appropriation of objects, and "Tronic" (for electronic music) is the artist's wink to the electric lights. https://www.ivorianjones.com/henry-taylor daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612406301565-CHX17MJELBAORN1IV0KI/CalArts-5050-Henry-Taylor-Unitled-400x629.jpg Henry Taylor - Henry Taylor Untitled, 2020 Serigraph Coventry Rag Smooth White Edition of 20 with 4 APs Print Dimensions: 50 1/4 × 32 inches (127.6 × 81 cm) Framed: 52 5/8 × 34 3/8 × 2 inches (133.7 × 87.3 × 5.1 cm) Printed by El Nopal Press Published by Lisa Ivorian-Jones for CalArts © Henry Taylor Courtesy the artist, Hauser & Wirth, and Blum & Poe Photo: Fredrik Nilsen $25,000 (framed) For more information and images see CalArts 50+50 CalArts is delighted to announce the publication of Henry Taylor’s Untitled, 2020, a new limited edition serigraph print, in an edition of 20, printed by El Nopal Press and published by Lisa Ivorian-Jones. This arresting and powerful work depicts Malcolm X being interviewed by reporters in 1964, the same year that President Lyndon Johnson ran for re-election. Malcolm X referred to 1964 as “the year of the ballot or the bullet”, in his call for a global fight for racial justice, stating, “We intend to expand [the freedom struggle] from the level of civil rights to the level of human rights.” As homage to beloved CalArts professor and Los Angeles based late artist John Baldessari, Taylor conceived and completed this series during the Covid-19 pandemic. In this work, Taylor places stylistic and bold brightly-hued dots over the faces of Malcolm X and the others depicted in the original image captured by Herman Hiller. In so doing, he expertly pushes this historic photograph of Malcolm X firmly into the present and begs a revisitation of both the words of Malcolm X and the work of Baldessari. Taylor provides a poignant reflection on a tumultuous year—one defined by social unrest and racial injustice in the United States, starkly and inescapably laid bare during the Covid-19 pandemic and election. About Henry Taylor Taylor lives and works in Los Angeles. He has been the subject of numerous exhibitions in the United States and internationally, and his work is in prominent public collections including the Bourse de Commerce – Pinault Collection, Paris, France, The Bronx Museum of the Arts, Bronx NY, Carnegie Museum of Art, Pittsburg PA, The Fondation Louis Vuitton, Paris, France, Hammer Museum, Los Angeles CA, Institute of Contemporary Art, Boston MA, Los Angeles County Museum of Art, Los Angeles CA, The Metropolitan Museum of Art, New York NY, Museum of Contemporary Art, Los Angeles CA, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, Nasher Museum of Art at Duke University, Durham NC, Pérez Art Museum, Miami FL, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY. In 2018, Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art, New York NY in 2017 and 58th Venice Biennale, Venice, Italy in 2019. Taylor will open a solo exhibition at Hauser & Wirth Somerset in February of 2021. A major survey exhibition of his work is also due to open at the Museum of Contemporary Art, Los Angeles, in the Spring of 2022 Henry Taylor on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/workseditions daily 0.75 2024-08-01 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1770321987850-JEP9WLJ9CIGF0USF3INA/Lotus3Detail.jpeg A Selection of Works & Editions - Lotus L. Kang https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1758548439924-WTC6DY16RHNW1TP4L5IB/16+of+25_040+RETOUCH+FLAT.jpg A Selection of Works & Editions - MARTIN PURYEAR https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612939128127-FNT4YOCUA21EOETPC7QT/CalArts-5050-Henry-Taylor-Unitled-400x629.jpg A Selection of Works & Editions - HENRY TAYLOR Untitled, 2020 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612939451591-2VAXX435JW873XM0QKA2/Gala%2BPorras-Kim2.jpg A Selection of Works & Editions - GALA PORRAS-KIM https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612939522529-2D5PE9IEL3SV9M4CNRFA/Elizabeth%2BPeyton.jpg A Selection of Works & Editions - ELIZABETH PEYTON https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612991168042-CJWFUUKQWTLCOGQ9D32Z/djurberg.jpg A Selection of Works & Editions - NATHALIE DJURBERG NATHALIE DJURBERG https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612994970223-8EECDJX9T1AJPK8JZLVJ/LED-2018-LJD-LS-03.jpg A Selection of Works & Editions - LADDIE JOHN DILL LADDIE JOHN DILL https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612998459139-O6NTGN7LMEO8DTOZ7WEN/LED-2018-JB-PG-01.jpg A Selection of Works & Editions - JOHN BALDESSARI JOHN BALDESSARI https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1614193449068-FZGYZZCT69KHJ1RTRWEF/Frank+Benson.jpg A Selection of Works & Editions - FRANK BENSON https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612996097332-8ABKFB71MIYFNVTQ0GH4/LED-2018-JG-MILK-03.jpg A Selection of Works & Editions - JOE GOODE JOE GOODE https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612996340564-A5FZ917SANONR5DUDFA9/3-Photo-Joshua_White-jwpictures.com-5152.jpg A Selection of Works & Editions - NAOTAKA HIRO NAOTAKA HIRO https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612998284442-2CEA7F8KUWP5EWT3SV1V/Photo-Joshua_White-jwpictures.com-0539-13.jpg A Selection of Works & Editions - CARRIE MAE WEEMS CARRIE MAE WEEMS https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612997532893-MXHN5YCEDRA8QYJZWCMH/LED-2018-TO-LC-03.jpg A Selection of Works & Editions - TONY OURSLER TONY OURSLER https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612997617986-XKVRCYN49CKUHR5BPH73/4-Photo-Joshua_White-jwpictures.com-0744.jpg A Selection of Works & Editions - STEPHEN PRINA STEPHEN PRINA https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1612998027360-JALUEM6TLDY2MSFR8J5H/Photo-Joshua_White-jwpictures.com-24291.jpg A Selection of Works & Editions - BARBARA T. SMITH BARBARA T. SMITH https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613527746934-LE8MUMQA5C54BBMQN9GR/NATE+LOWMAN.png A Selection of Works & Editions - NATE LOWMAN NATE LOWMAN https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613528114936-25K0BZH9K8F4N8VILN3Z/MARK+BRADFORD.png A Selection of Works & Editions - MARK BRADFORD MARK BRADFORD https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613528355063-VXEY5PQLJCJMU1BMDPZT/stingel.png A Selection of Works & Editions - RUDOLF STINGEL RUDOLF STINGEL https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613615097893-4JGSNYKDQ11DCZVISDXM/JIM+LAMBIE.png A Selection of Works & Editions - JIM LAMBIE https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613619465091-7HI62VJQ68ZRGEPWDKD4/AC2018-0019-Aura-John-Baldessari-2003-2018-CALARTS-EDITION_hi-res_c.jpg A Selection of Works & Editions - ANNE COLLIER ANNE COLLIER https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1614227027597-A3SDH0IOLVDX9XGCH3DA/Lynda%2BBenglis%2B.jpg A Selection of Works & Editions - LYNDA BENGLIS https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1618335350317-JUAXEQIJTBNBT8GIC33P/image001.jpg A Selection of Works & Editions - CAMILLE HENROT https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1722550781812-FERHAL6LYVV7CJHLMUJN/Sarah_Sze_Torn_Sky_02_CR_008.JPG A Selection of Works & Editions - SARAH SZE Sarah Sze Torn Sky, 2023 Cast stainless steel, archival print, plywood and pine base Cube dimensions: 6” x 5 ½” x 6 ¼” Base dimensions: 11 ¼” x 10 5/16” x 2 ¾” Print dimensions: 11” x 7 ½” Approximate overall dimensions with print: 14” x 11 ½” x 9 ¼” Edition of 14, signature stamped and numbered Published by Lisa Ivorian-Jones The New Museum is thrilled to introduce Torn Sky, 2023 by Sarah Sze, a new limited-edition sculpture produced by Lisa Ivorian-Jones. Sold to support exhibition programming at the New Museum, the edition has been published in a limited and unique series of 14. Torn Sky is comprised of a stainless-steel cast cube sculpture (two carved halves of a whole) and an archival print, which sit atop a wooden pedestal. In order to create the cube, the artist shaped a standard block of clay by hand, subsequently 3D scanning, printing, and casting it. The resultant crater-like forms appear to have been subject to the deleterious effects of erosion and the natural passing of time; shards and fragments from the carved-out interior lie upon a wooden base, reminiscent of fallen petals. The high polish of the interior forms and fragments stand in crisp contrast to their beautifully hand painted matte grey exterior. Each of these eroded cubes, in a series of 14, sits atop a unique archival print which depict images taken by the artist of the New York City sky at different times of day and night. Most beautifully encompassing all critical aspects of this MacArthur Award winning artist’s varied and multi-faceted practice, Torn Sky refers to the active process of studio creation, and the inherent passage of time. Thwarting the viewer’s expectations through her brilliant and nuanced play of both scale and material, Sze allows time to collapse, as the sculpture’s journey from humble clay to impermeable steel is evoked. A telescoping of micro and macro, Torn Sky reorients us by opening a new way of looking at both the earth and the sky (the heavens), not only materially, but also in ways both phenomenological and metaphysical. Born in Boston in 1969, Sze presently lives and works in New York. She received a BA from Yale University in Connecticut in 1991 and an MFA from New York’s School of Visual Arts in 1997. She is a 2003 MacArthur Fellow. In 2013, Sze represented the United States at the 55th Venice Biennale with a solo pavilion presentation entitled Triple Point. Other important solo exhibitions include Solomon R. Guggenheim Museum (2023); Storm King Art Center, New York (2021); Fondation Cartier Pour L'art Contemporain, Paris (2021); MOCA Toronto (2020); Haus der Kunst, Munich (2017-2018); Rose Art Museum at Bradis University (2016); Fabric Workshop and Museum in Philadelphia (2014), Asia Society in New York (2011-12), Baltic Centre for Contemporary Art in Newcastle, UK (2009), Malmo Konsthall in Sweden (2006), Whitney Museum of American Art in New York (2003), Museum of Fine Arts in Boston (2002), Walker Art Center in Minneapolis (2002), Museum of Contemporary Art in Chicago (1999), Foundation Cartier in Paris (1999), and the Institute of Contemporary Arts in London (1998). She has conceived major public commissions at New York City’s High Line Park (2011-12), the Doris C. Freedman Plaza in New York City, organized by the Public Art Fund (2006), Massachusetts Institute of Technology in Cambridge (2004); New York Metropolitan Transportation Authority’s 2nd Avenue subway line, 96th street station, New York (2017); La Guardia Airport (2020); Storm King Art Center, New York. Her work is well represented in important private and public collections worldwide, including those of New York’s Guggenheim Museum, and Museum of Modern Art, The New Museum, and Whitney Museum of American Art, along with the Museum of Contemporary Art, Chicago, San Francisco Museum of Modern Art, 21st Century Museum of Art in Kanazawa, Japan, Walker Art Center in Minneapolis, Boston Museum of Fine Arts, High Museum of Art in Atlanta, GA, Tate Collection, London, Los Angeles Museum of Contemporary Art, Fondation Louis Vuitton, France, among others. https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1722551816661-BH3MZ96FWY8MVMLPWB1B/LHA+21-051+Medium.jpeg A Selection of Works & Editions - LAUREN HALSEY https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1722552630178-G4WKNMDC8P21WSNBE53N/2022.03+Andrea+Bowers0+25.jpg A Selection of Works & Editions - ANDREA BOWERS https://www.ivorianjones.com/john-baldessari daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613599692936-0U1K1Y74TKRKBO3O30MY/LED-2018-JB-PG-01.jpg John Baldessari - John Baldessari Quack, 2018 Composite, UV-resistant resin, paint, UV Coating 48 x 30 x 21 inches (may vary) Edition of 14 with 4 APs Individually numbered with signed certificates of authenticity Published for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com Artist portrait: Nicole Shibata, courtesy of John Baldessari Estate $120,000 For more information and images see CalArts 50+50 In celebration of CalArts’ 50th anniversary, artist John Baldessari (Chouinard 1959) has created Quack, 2018, an extraordinarily special artwork by one of our most revered Chouinard graduates, and beloved CalArts teachers, who is widely regarded as one of the most influential artists of the past five decades. Standing at roughly four feet tall (true to the size of the largest of all penguins), Quack, 2018, has been created in an editioned series of 14 sculptures, each from composite and UV resistant resin, and uniquely hand painted. Rife with humor (exhibiting the artist’s interest in the pairing of incongruent words and images through the delightful title, Quack), Baldessari’s sculpture for CalArts also draws pathos within the context of global warming. When asked why he started working with penguins, Baldessari explained he chose these aquatic flightless birds as his subjects because “they are far from my everyday experience”. A bibliophile and lover of literature, it is probably no coincidence that after reading South! By Ernest Shakleton, Baldessari was drawn to the penguins of Antarctica, specifically the Emperor penguin. About John Baldessari John Baldessari was born in National City, California in 1931. He attended San Diego State University and did post-graduate work at Otis Art Institute, Chouinard Art Institute and the University of California at Berkeley. He taught at California Institute of the Arts in Valencia, CA from 1970–1988 and the University of California at Los Angeles from 1996–2007. Baldessari’s artwork has been featured in more than 200 solo exhibitions and in over 1000 group exhibitions in the U.S. and Europe. His projects include artist books, videos, films, billboards and public works. His awards and honors include the 2014 National Medal of Arts Award, an award from the International Print Center New York in 2016, memberships in the American Academy of Arts and Letters and in the American Academy of Arts and Sciences, the Americans for the Arts Lifetime Achievement Award, the Rolex Mentor and Protégé Arts Initiative, the BACA International 2008, the Golden Lion for Lifetime Achievement, awarded by La Biennale di Venezia and the City of Goslar Kaiserring in 2012. He has received honorary degrees from the National University of Ireland, San Diego State University, Otis Art Institute of Parsons School of Design, and California College of the Arts. The art world and CalArts mourn the passing of acclaimed conceptual artist John Baldessari on January 2, 2020 at age 88. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/laddie-john-dill daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613600002672-JUBZAXSAEERFRQ1G07PN/LED-2018-LJD-LS-03.jpg Laddie John Dill - Laddie John Dill CalArts Light, 2018 Glass tubing and argon gas 50 inches × approximately 0.5 inch Powder-coated steel box frame: 51 × 5 × 6 inches Edition of 12 with 4 APs (each unique) Published for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com $15,000 For more information and images see CalArts 50+50 Laddie John Dill’s (Chouinard BFA 1968) gorgeous artwork series for 50+50, CalArts Light, 2018, which the artist refers to as a “Light Sentence” is made from neon tubes filled with argon and mercury, which are multicolored and fashioned by Dill’s hand. Dill began his career in the late sixties as part of the California Light and Space Movement, by experimenting with materials developed for fields other than the arts, such as neon lights, more aptly described as luminescent tubes charged with argon or mercury, and aluminum of the 6061 type, which are most commonly used in the airplane industry. Dill has been crafting light and earthly materials like concrete, glass, sand, and metal into luminous sculptures, wallpieces, and installations since the 1970s. Referring to his choice of materials, Dill explains, “I was influenced by [Robert] Rauschenberg, Keith Sonnier, Robert Smithson, Dennis Oppenheim, and Robert Irwin, who were working with earth materials, light, and space as an alternative to easel painting.” When Dill does use canvas, he paints with pigments derived from cement and natural oxides. Introducing these materials to the art world, Dill has said, “I am a painter who works with the typical materials of sculpture. I use rough and raw materials in a poetic sense.” Dill has exhibited his Light Sentences and Light Plains sculptures in institutions across the U.S.A. and globally, and a resurgence of interest in these pieces has occurred in the last decade as well, including a recent acquisition of a Light Plains sculpture by the Museum of Modern Art in New York, and of a Light Sentence sculpture by the Hammer Museum, Los Angeles. New York Times art critic and writer Ken Johnson has said, “At the end of the 1960s the West Coast Light and Space artist Laddie John Dill began producing electric light works out of custom-made, blown-glass tubes in a lush palette of jewel-bright colors… Some are made of many short pieces, some of longer parts and fewer colors. They glow beautifully like strings of illuminated glass beads. Mr. Dill called these works Light Sentences, likening the segments of color to words grouped in phrases and sentences. This suggests that light itself could be a transcendental language. But the effect of these works in concert is less verbal and more like trippy visual chamber music.” About Laddie John Dill Laddie John Dill was born in Long Beach, California in 1943. He graduated from Chouinard Art Institute in 1968 with a BFA degree. After graduating, Dill became a printing apprentice and worked closely with established artists, like Robert Rauschenberg, Claes Oldenberg, Roy Lichtenstein, and Jasper Johns. Dill’s first solo exhibition in New York was with Ileanna Sonnabend Gallery in 1971, and his work is in the permanent collections of national and international institutions such as the Museum of Modern Art in New York; the Los Angeles County Museum of Art; Museum of Contemporary Art in Los Angeles; the San Francisco Museum of Modern Art; the High Museum in Atlanta; The Phillips Collection and the Smithsonian in Washington, D.C.; the Chicago Art Institute, IL; the Louisiana Museum of Modern Art, Denmark; Pio Monte della Misericordia, Italy; the Museum of Contemporary Art San Diego; the Hammer Museum, Los Angeles; and Museo Jumex, Mexico. He currently lives and works in Venice, California where he maintains a studio. Follow Laddie John Dill on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/joe-goode daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613600794364-Z6QE3FYOXD0BCEUUNW0W/LED-2018-JG-MILK-03.jpg Joe Goode - Joe Goode Dangerous Territory, 2018 Sintered nylon and acrylic paint 8.7 × 3.97 × 3.93 inches Edition of 15 with five APs (each unique) Individually numbered with signed certificates of authenticity Published for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com Artist portrait: Caren Levin $3,500 For more information and images see CalArts 50+50 In honor of the 50th Anniversary of CalArts, Joe Goode (Chouinard 1961) has returned to one of the earliest subjects of his artistic practice—the milk bottle—to create the edition Dangerous Territory, 2018. Continuing the artist’s tradition of finding the new within the commonplace, Goode has created his very first hand-manipulated milk bottle edition and first-editioned sculpture using contemporary production techniques that would not have been available to him some 50 years ago when he first began his renowned milk bottle paintings. The process of producing this edition began by 3D-scanning a glass milk bottle, and subtly manipulating the digital image on the computer by adding two holes mimicking a piercing entrance on one side and a larger exit on the other. This image was then 3D-printed, and then more overtly manipu­lated by hand (and hammer) in the studio. The 3D-printed and hand-manipulated object was re-scanned and re-printed in a series of 15, each one individually and uniquely hand-painted by the artist. The manipulations are reminiscent of Goode’s early series of Environmental Impact paintings that were created by shooting the surface of the paintings with a shotgun. To further emphasize the destructive manipulation made to the bottle and add a unique element to each, Goode individually applied red paint to each bottle, imbuing them with life while simultane­ously suggesting something more sinister (or serious). In merging the earlier subject and methods with recent technological advances in 3D-printing and scanning, Goode has created a distinct new body of work that further extends the life of the milk bottle into the 21st century. It is nostalgic in our modern times. About Joe Goode Joe Goode was born in Oklahoma City in 1937. He attended Chouinard Art Institute in Los Angeles from 1959 to 1961. Over the past nearly 60 years, his work has been shown in galleries from Los Angeles to New York, London to Tokyo. His work has been featured in museum exhibitions at the Whitney Museum of American Art; the Museum of Modern Art, New York; the Los Angeles County Museum of Art; and many more. Goode’s work can be found in numerous museum collections, including the Art Institute of Chicago, the National Gallery in London, LACMA, the Museum of Contemporary Art in Los Angeles, and MoMA. He currently lives and works in Los Angeles. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/naotaka-hiro daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613601248550-A379V43MT84Q2QBHSLNA/3-Photo-Joshua_White-jwpictures.com-5152.jpg Naotaka Hiro - Naotaka Hiro Untitled, 2018/19 Paper, grease pencils, oil stick, silkscreen materials (from Modern Multiples in Los Angeles), acrylic, watercolor, crayons, graphite pencils Paper size 35 × 44 inches Framed size 47.625 × 38.625 × 2 inches Edition of 15 with 4 APs (each unique) (Includes Frame) Signed and numbered by the Artist Published for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com $5,000 (framed) For more information and images see CalArts 50+50 For CalArts’s 50th Anniversary, artist Naotaka Hiro (CalArts MFA 2000) has created a mesmerizingly beautiful series of 15 monoprints by hand-applying paint, crayon, and graphic pencil to a set of 15 silk­screened prints. The original drawing which forms the silkscreen base of each monoprint was made by the artist on a clear mylar sheet, scaled 35 × 44 inches, mirroring the artist’s torso. In the words of the artist, “My drawings reflect my body parts, shapes, and movement. I also work with chance and error as I draw. The foundation of my work, in general, stems from the idea of the unknown—the world of my body parts, which I am unable to see and thus unable to confirm. The dilemma of the unknowabil­ity of my body serves as a creative point of departure—a place (unknown, blindness, awe) from which my imagination may create. It usually starts with the body parts, to which I am essentially blind: the subject, an unknown world. The depressing yet unavoidable fact is that my body is only understandable to myself when considered through a mediated form, such as a camera or a mirror. My works, thus, are connected through an image resulting from my encounter and engagement with the unknown. “I work on various sizes of paper. I draw on smaller papers in a closed space, most of the time on the studio desk, and often while I travel, I am in a hotel room, in a hotel bathroom, or on a bed. The larger drawings are then pinned on my studio wall, on a drawing board or laid flat on the floor. The 32 × 42-inch scale drawings, for example, I consider [to be] an advanced stage of the smaller drawings. While small drawings are direct outputs of ‘raw’ image, [the] larger ones…retain an aspect of ‘rawness.’ For example, I physically lean against or lie on the paper. The drawing shows a remnant of a scan of myself and the process. Consequently, these 32 × 42-inch drawings often deal with half of my body (upper/lower parts), whereas larger 48 × 72-inch drawings deal with my entire body.” About Naotaka Hiro Born in Osaka, Japan in 1972, Naotaka Hiro lives and works in Los Angeles. He received his MFA from CalArts in 2000. Recent exhibitions include Big Question (2016) and Pit and Log (2013) at Brennan & Griffin in New York; A Modest Proposal at Hauser & Wirth, New York; Mirror Effect (2015) and Men in LA: Three Generations of Drawings: Naotaka Hiro, Paul McCarthy, and Benjamin Weissman (2014) at The Box, Los Angeles; solo exhibitions at Misako & Rosen in Tokyo (2015, 2008, 2007); and RSVP Los Angeles: The Project Series at Pomona, Pomona College Museum of Art, Claremont, CA (2015). Follow Naotaka Hiro on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/tony-oursler daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613611799295-TVYTEDG7IO16U1GSYZF6/LED-2018-TO-LC-03.jpg Tony Oursler - Tony Oursler Lucky Charm, 2019 Naxa boom box, powder coated steel, pigment print mounted to 3mm aluminum dibond, digital media on flash drive Dimensions Shelf: 23.25 × 7.25 × 8 inches Dimensions Print: 19 × 15 inches Dimensions Boom Box: 7.8 × 6 × 6 inches Video Duration 23 min., 11 sec. Edition of 10 with 4 APs (each unique) Produced for CalArts by Lisa Ivorian-Jones Artwork photo: Joshua White / JWPictures.com Artist portrait: Edouard Caupeil $15,000 For more information and images see CalArts 50+50 Tony Oursler (CalArts BFA 1979) has created Lucky Charm, 2019 for CalArts’s 50+50, in an edition of 10 with 4 APs. Tony Oursler and Mike Kelley met at CalArts in 1976. The two quickly formed a “band,” which became the experimental collaborative group The Poetics. Concerned with a pop-cultural means of presentation of art activities, the groups’ projects explored the territories of sound, music, and performance, producing radio shows, proto-punk songs, soundtracks, dance installation, and comedy. Kelley and Oursler worked with numerous collaborators and band members, including David Askevold, Jim Shaw and John Miller. Oursler’s notebook became the repository for the band’s ideas, lyrics, installation sketches, performance diagrams, and notes of various kinds. This edition relates physically to CalArts in that many of the projects that Kelley and Oursler developed first originated there, specifically in Documenta ‘10, for which they produced a large-scale installation and which, in modified form, toured extensively, and is now on semi-permanent display at the Pompidou Center. The edition incorporates the multimedia impulse of the artists, incorporating a pop-cultural, multimedia iconic boombox. The box features a video made especially for CalArts’s 50th Anniversary that mines The Poetics archive and incorporates previously unseen footage produced by Oursler and Kelley. It also includes iconography of the leprechaun (an Irish-American trickster character), various graphics from The Poetics notebook, as well as musical accompaniments from the band. The classic marbleized cover of the notebook was significant for the band. It was the generic school notebook cover of the 60s and 70s (this edition printed near Oursler’s hometown of Nyack, New York). It also carried a significant relationship to the painting technique of frottage and was modified by countless adolescents with doodles, graffiti, and erasure to provoke a pareidolia effect. With this in mind, Oursler has produced Lucky Charm, 10 variations of the notebook cover for CalArts’s 50+ 50 edition series. Each variation is based on original sketches and inspirations from the notebook. About Tony Oursler Born in 1957, Tony Oursler lives and works in New York. He graduated from CalArts with a BFA in 1979 and collaborated on early works with artists such as Mike Kelley. His museum exhibitions include the Museum of Modern Art, New York (2016 and 2017); Magasin III Museum & Foundation for Contemporary Art, Sweden (2016); Hessel Museum of Art at Bard College in New York (2016); LUMA Westbau in Zurich (2015); Stedelijk Museum in Amsterdam (2014); Pinchuk Art Centre in Kiev, Ukraine (2013); ARoS Aarhus Kunstmuseum, Denmark (2012); Helsinki City Art Museum, Finland (2005); Metropolitan Museum of Art, New York (2005); Kunsthaus Bregenz, Austria (2001); Whitney Museum of American Art, New York, NY, USA (2000) and Kunstverein Hannover in Germany (1998). In addition to participating in prestigious group exhibitions such as Documenta VIII and IX (1987 and 1992), Oursler’s work is included in many public collections worldwide, including the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; Centre Pompidou, Paris; the Museum of Modern Art, New York; National Museum of Osaka, Japan; the Tate Collection in London, UK; Van Abbemuseum, in The Netherlands; and ZMK/Center for Art & Media in Karlsruhe, Germany. The Public Art Fund debuted a new, site-specific project by Oursler on the Hudson River in October 2018. Follow Tony Oursler on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/gala-porraskim daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613613336651-6D9HATSN1GCAKEX6D9BC/5-Photo-Joshua_White-jwpictures.com-5675.jpg Gala Porras-Kim - Gala Porras-Kim Composite Artifact, 2019 Southwest stone, foam, acrylic paint, metal, wood Sculpture Dimensions Variable, approx. 12 × 12 × 12 inches; Base, 2 × 9 × 5 inches Edition of 10 with 4 APs (each unique) Signed and numbered by the Artist Published for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com $3,250 For more information and images see CalArts 50+50 Gala Porras-Kim (CalArts MFA 2009) has created Composite Artifact, 2018—a unique series of sculptures in an edition of 10 with four APs—for CalArts’s 50th Anniversary. The sculptures were formed by adhering two stones together, their joint covered in acrylic paint. The reconstructed stone sculpture sits beautifully poised upon a metal armature which is anchored by a shallow wooden base. In the words of the artist, “These rock formations, composed of matter found in abundance in the southwest of the U.S., amount to projections of what they may have been in the past, before exposure to the elements may have caused their fragmentation.” Composite Artifact continues Porras-Kim’s long-held interest in re-imagining the objects that surround us and her re-investigation of ethnographic and aesthetic visual representation and museologica modes of display. About Gala Porras-Kim Gala Porras-Kim was born in 1984 in Bogotá, Colombia. She makes her work through the process of learning about the social and political contexts that influence the representation of language and history. The work comes from a research-based practice that aims to consider how intangible things such as sounds, language, and history have been represented through different methodologies in the fields of linguistics, history, and conservation. Porras-Kim received an MFA degree from CalArts and an MA in Latin American Studies from UCLA. She has had solo exhibitions at the Headlands Center for the Arts, Sausalito, California (2018); LABOR, Mexico City (2017); Commonwealth and Council, Los Angeles (2017); 18th Street Arts Center, Santa Monica, California (2013). Selected group exhibitions include the Whitney Museum of American Art, New York (2019); Seoul Museum of Art, Seoul, Korea (2017); Los Angeles County Museum of Art (2017); and Hammer Museum, Los Angeles (2016). Porras-Kim is the recipient of a Radcliffe Fellowship (2019); an Artadia Award (2017); a Rema Hort Mann Foundation grant (2017); a Joan Mitchell Foundation grant (2016); a Creative Capital grant (2015); a Tiffany Foundation Award (2015); and a California Community Foundation Fellowship (2013). Follow Gala Porras-Kim on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/stephen-prina daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613613599101-80NZTE2TU5WDKH3AIM5I/4-Photo-Joshua_White-jwpictures.com-0744.jpg Stephen Prina - Stephen Prina English for Foreigners Redux, 2018 Digital prints on canvas with oil paint Panel dimensions: 54 × 40.16 inches Diptych dimensions: 54 × 80.3 inches Edition of 10 with two APs and two PPs (each unique) Signed and numbered by the Artist Produced for CalArts by Lisa Ivorian-Jones Artwork photos: Joshua White / JWPictures.com $12,000 For more information and images see CalArts 50+50 For the 50th Anniversary of CalArts, Stephen Prina (CalArts MFA 1980) has created English for Foreigners Redux, digital prints mounted to canvas to create an edition of 10 diptychs, each one with unique hand-applied oil paint, in a range of different colors. The right panel is a digital print of a painting Prina made in 2017 titled, English for Foreigners—a reproduc­tion of Georges de La Tour’s Saint Joseph the Carpenter, ca. 1642, made to scale, and in burnt umber mono­chrome, in the manner of a Warhol portrait. The left panel is a close-up of the mallet that lies at the feet of the saint. Tucked into the upper-left-hand corner of each of the two panels is a one-to-one outline of an iPhone 7. Prina has individually hand-painted oil monochromes on each panel, in a range of glazed, colored fields, the iPhone shape branding both panels with a one–to–one scale that we intuit because of its designed relation to the hand. The relay race therefore begins with de La Tour’s original St. Joseph the Carpenter, and proceeds to Prina’s first copy of it (made when he was a boy of 13) to English for Foreigners, 2017, to its most recent iteration, the scanned and digitally printed version, which serves as a structural model for Prina’s CalArts edition, English for Foreigners Redux. Details are rendered digitally, recombined, and then differentiated with the hand-painted section within the confines of a handheld object of communication. About Stephen Prina Stephen Prina was born in 1954 in Galesburg, Illinois. He lives and works in Los Angeles, California and Cambridge, Massachusetts, where he is a Professor in the Department of Art, Film, and Visual Studies at Harvard University. He studied first at Carl Sandburg College, Galesburg, (AA 1974), followed by Northern Illinois University, DeKalb, (BFA 1977), and California Institute of the Arts, Valencia, (MFA 1980). Prina’s work has moved nimbly between painting, sculpture, photography, installation, and conceptual practices since the late 1970s. Solo exhibitions include those at Museo Madre, Naples, Italy (2017); Museum Kurhaus Kleve, Germany (2016); Kunst Halle Sankt Gallen, Switzerland (2015); Los Angeles County Museum of Art (2013); Vienna Secession, Austria; Kölnischer Kunstverein, Cologne, Germany (2011); Contemporary Art Museum St. Louis (2010); Bergen Kunsthall, Norway; Centro Andaluz de Arte Contemporáneo, Seville, Spain (2009); Staatliche Kunsthalle Baden-Baden, Germany (2008); Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts; Cubitt, London (2004); Art Institute of Chicago (2001); Frankfurter Kunstverein, Frankfurt am Main, Germany (2000); Musée d’Art Moderne et Contemporain, Geneva, Switzerland (1998); Museum Boijmans Van Beuningen, Rotterdam, the Netherlands (1992); The Power Plant, Toronto, Ontario (1991); P.S.1 Contemporary Art Center, New York (1990); The Renaissance Society, Chicago; and Los Angeles Municipal Art Gallery (1989). Among the many international group exhibitions that have featured his work are the Whitney Biennial (2008), the Yokohama Triennale (2008), Documenta IX (1992), the Carnegie International (1991), and the Venice Biennale (1990). For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/barbara-t-smith daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613614100623-SQ2APCNSRXC6AFK8WFO8/Photo-Joshua_White-jwpictures.com-24291.jpg Barbara T. Smith - Barbara T. Smith Invisible, 2018 Blown glass, water, and cotton rope Dimensions overall: Approximately 22–24 × 6–8 inches Dimensions glass: Approximately 11–13 × 6–8 inches Dimensions rope: 12 inches Edition of 20 with four APs (each unique) Certificate/documentation provided by the artist with etched signature on glass Produced for CalArts by Lisa Ivorian-Jones Artwork photo: Joshua White / JWPictures.com Artist portrait: Fredrik Nilsen $5,000 For more information and images see CalArts 50+50 Since the 1960s, Barbara T. Smith’s (Chouinard 1965) work has demonstrated an engagement with issues of spirituality, gender, and power, making vital contribu­tions to both feminist discourse and the history of West Coast performance art. For her CalArts 50+50 limited edition, Smith has created Invisible, 2018, a blown-glass sculpture containing water, in a series of 20 objects. Smith has said of her edition, “One day I noticed the most amazing thing. I noticed that two elements life requires to survive, air and water, are intrinsically invisible! Immediately I got the idea to create a beauti­ful sacred container to honor and celebrate this. It would be a large drop of hand-blown glass. Inside the drop would be a sealed space holding air and water. And glass itself is also invisible! Think about it.” About Barbara T. Smith Smith’s work was recently on view in Experiments in Electrostatics: Photocopy Art from the Whitney’s Collection, 1966–1986, at the Whitney Museum of American Art, in New York. Smith received her BA from Pomona College in 1953, studied at Chouinard in 1965, and received her MFA in 1971 from the University of California, Irvine, where she was a founding member of F-Space with Chris Burden and Nancy Buchanan. Smith has exhibited widely since the 1960s, and her work has been represented in several historic survey exhibitions, including Whatever Happened to Sex in Scandinavia? at Office for Contemporary Art, Oslo, Norway (2009), and WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007), State of Mind: New California Art Circa 1970, Orange County Museum of Art, The Berkeley Art Museum, the Bronx Museum of the Arts (2011–2013), and The Radicalization of a ‘50s Housewife at the University of California, Irvine (2011). For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/carrie-mae-weems daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613614648756-03UCRQQDD07TS8K49UU0/Photo-Joshua_White-jwpictures.com-0539-13.jpg Carrie Mae Weems - Carrie Mae Weems Queen B, 2018/19 Archival digital print Unframed dimensions: 50 × 63 inches Framed dimensions: 49.4375 × 63.9375 × 2.5 inches Edition of 10 with 4 APs (Includes Custom Frame) Signed and numbered by the Artist Produced for CalArts by Lisa Ivorian-Jones Artwork photo: Joshua White / JWPictures.com Artist portrait: Jerry Klineberg $60,000 (framed) For more information see CalArts 50+50 Carrie Mae Weems (CalArts BFA 1981) has created Queen B, 2018/2019 for CalArts’s 50+50, a sumptuously beautiful photograph of artist Mary J. Blige, presented in a stained maple frame chosen by the artist, in an edition of 10. As Weems says, “Over the years, and beginning with the Kitchen Table Series, I’ve made any number of images in both photography and video of women examining themselves—considering who they are, what they represent and to whom. This photograph of the famed Mary J. Blige, taken at a time of tremen­dous upheaval in her personal life, continues this ongoing investigation.” Considered one of the most influential contempo­rary American artists, Carrie Mae Weems has investi­gated family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Determined as ever to enter the picture—both literally and metaphorically—Weems has sustained an ongoing dialogue within contemporary discourse for more than 30 years. During this time Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation, and video. In a recent review, New York Times critic Holland Cotter wrote, “Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible.” About Carrie Mae Weems Weems has participated in numerous solo and group exhibitions at major national and international museums, including The Metropolitan Museum of Art, New York, The Frist Art Museum in Nashville, the Solomon R. Guggenheim Museum, New York, Prospect.3, New Orleans, and the Centro Andaluz de Arte Contemporáneo, Seville, Spain. In September 2018, Carrie Mae Weems: Strategies of Engagement opened and was organized by the McMullen Museum of Art, Boston, and traveled to the Allentown Art Museum, Allentown, Pennsylvania. Weems has received numerous awards, grants, and fellowships, including the prestigious Prix de Roma, The National Endowment for the Arts, The Herb Alpert Award in the Arts, the Anonymous was a Woman Award, and the Tiffany Award. In 2012, Weems was presented with one of the first U.S. Department of States Medals of Arts in recognition of her commitment to the State Department’s Art in Embassies program. In 2013, Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. In 2014, she received the BET Honors Visual Arts award and the Lucie Award for Fine Art photography, and was one of four artists honored at the Guggenheim’s International Gala. She is represented in public and private collections around the world, including the Metropolitan Museum of Art, and the Museum of Modern Art, New York; The Museum of Fine Arts, Houston; and the Museum of Contemporary Art, Los Angeles. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com Follow Carrie Mae Weems on Instagram https://www.ivorianjones.com/anne-collier daily 0.75 2021-02-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1613614964724-PAKA2WVJHAN9ZFSP7Y23/AC2018-0019-Aura-John-Baldessari-2003-2018-CALARTS-EDITION_hi-res_c.jpg Anne Collier - Anne Collier Aura (John Baldessari 2003), 2018 C-print Image Size 11 x 14 inches Paper Size 13 x 16 inches Framing Size 14.0625 x 17 inches Edition of 15 with 5 APs (Includes Frame) Image courtesy of the artist Published for CalArts by Lisa Ivorian-Jones $10,000 (framed) For more information see CalArts 50+50 Anne Collier’s (CalArts BFA 1993) Aura Polaroids are the result of an ongoing project conducted from 2002–04 in Oakland, CA., and feature friends, men­tors, and colleagues who visited the Bay Area during that time. For this group of photographs, the artist adopted a psychic’s shop as her studio, using its Polaroid camera, which had been configured for Aura photography. After photographing each individual, Collier gave her subjects a copy of the Polaroid, keeping the remaining images for her archive. Each original photograph is unique. Created for CalArts’s 50th anniversary, Collier’s edition of Aura (John Baldessari 2003), 2018, rep­resents the first time that Collier has made an edition or print from her Aura artwork series. Aura series has been shown in group exhibitions at several public institutions, including most recently at Aspen Museum of Art’s group show, Ritual in 2018. Works from this series were exhibited at SFMOMA in 2016; University Galleries of Illinois State University in 2013, and The Frances Lehman Loeb Art Center, Vassar College in 2013. Art critic Brian Dillon wrote of Collier’s Aura photographs in 2006, that her “light touch with the everyday significance of photographs carries over into the series of Aura Photographs (2002–04)—made with an adapted Polaroid camera, meant to capture the etheric emanation of the sitter’s personality—that Collier has made of artist friends: like much of her work, they are moving, knowing and absurd.” Shot over the course of two years, the exact number of Aura Polaroids is indeterminate. Usually several Polaroids were shot of each subject; Collier kept one, and the subject received one. Rather than focus on recording each image, the artist focused on this series as an interaction with her subjects. About Anne Collier Anne Collier was born in Los Angeles in 1970. She received her BFA from CalArts in 1993 and her MFA from UCLA in 2001. Recent solo exhibitions include Galerie Neu, Berlin, Germany and Gladstone, Brussels, Belgium (both 2019). In 2018, Collier’s work was the subject of a survey exhibition organized by the Sprengel Museum, Hannover, Germany, which subsequently traveled to Fotomuseum Winterthur, Switzerland in 2019. Other individual museum exhibi­tions include: FRAC Normandie, Rouen, France (2018) and a major traveling North American survey exhibition organized by the Museum of Contemporary Art, Chicago (2014), which traveled to the Hessel Museum of Art, Bard College, New York (2014); the Aspen Art Museum, Colorado (2015); and the Art Gallery of Ontario, Toronto, Canada (2016). Collier’s work is included in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum (all New York); the Los Angeles County Museum of Art, the Museum of Contemporary Art, and the Hammer Museum (all Los Angeles); Centre Pompidou, Paris; Tate, London; the Art Gallery of Ontario, Toronto; the Art Institute of Chicago; the San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis, among others. Collier is currently represented by Anton Kern Gallery, New York; Galerie Neu, Berlin; and The Modern Institute, Glasgow. In 2018, she joined the board of the Foundation for Contemporary Arts, New York. She currently lives and works in New York. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/frank-benson daily 0.75 2024-07-24 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1614191048149-EKPSQGD41FYCOD9N5ERJ/Frank+Benson.jpg Frank Benson - Frank Benson Human Statue Series (Sky Room), 2005–18 Dye sublimation print on aluminum 24 × 30 inches (unframed) 25 × 31 × 1 1/2 inches (framed) Signed and numbered on verso Edition of 20 Published by Lisa Ivorian-Jones for the New Museum Price on Request Frank Benson (b. 1976, Virginia, USA) has created Human Statue Series (Sky Room), a stunning new dye sublimation print exclusively for the New Museum. Each print is on an aluminum substrate and presented in a welded aluminum frame custom designed by the artist. Working in sculpture and photography (and often at the fore of advancing digital media technologies), Benson’s practice centers on concepts of arrested movement and the use of digital tools in the creation of sculpture. Increasingly, Benson has employed digital technology in the production of his works—for example, the translation of photographs of humans into meticulously crafted “wireframe” virtual models and 3-D prints. These models, which are based on members of Benson’s own circle of artists and creatives, serve as the basis for hyperreal and minutely finished statues featured in Human Statue Series (Sky Room). Human Statue Series (Sky Room) depicts Benson’s Human Statues gathered together for the first time in a virtual recreation of the New Museum’s iconic Sky Room. Created over the past fifteen years, the figures are arranged in chronological order from left to right. The Human Statues series begins with Human Statue (2005), a sculpture of a living statue performer in stunning detail, which was first made using a painstaking life-casting process. This lifelike fiberglass sculpture was later scanned and imported into a 3D modeling program to be rendered along with the artist’s other figurative sculptures. Human Statue (Jessie) (2011), the second in the series, is a portrait of artist and dancer Jessie Gold, and was Benson’s first sculpture made using the digital 3-D sculpting tools that would become a central part of his process. The third in the series, Juliana (2015) is a portrait of artist, poet and DJ Juliana Huxtable, created for the 2015 New Museum’s “Triennial: Surround Audience.” The fourth sculpture, located in the bottom right of the image, is Benson’s latest work, Castaway (2019), a bronze sculpture of a man marooned on an island. Illuminating the scene of Human Statue Series (SkyRoom) is a raking light, which was created using a rendering engine that simulates the morning sun as it would stream through the Sky Room’s southeast windows. The serrated edge of the shadow that cuts diagonally across the backdrop is cast by the expanded metal cladding that covers the exterior of the New Museum. Human Statue Series (Sky Room) (2005–18) reflects Benson’s longstanding interest in the possible mergers of photography and digital sculpture while paying homage to his history and connection with the Museum, where Juliana (2015) was first shown. Pictured from left to right: Human Statue, 2005 Human Statue (Jessie), 2011 Juliana, 2015 Castaway, 2018 About Frank Benson Frank Benson (b. 1976, Norfolk, Virginia) graduated from the Maryland College of Art, Baltimore, in 1998, and received a MFA in Sculpture from the University of California Los Angeles in 2003. Benson lives and works in Brooklyn. His work has been included in major group exhibitions, including “Like Life: Sculpture, Color, and the Body,” The Met Breuer, New York, 2018; “Art in the Age of the Internet: 1989 to Today,” Institute of Contemporary Art, Boston, 2018; and “Triennial: Surround Audience,” New Museum, New York, 2015. He is represented by Andrew Kreps Gallery in New York and Sadie Coles HQ in London. Follow Frank Benson on Instagram For sales inquiries contact Publisher Lisa Ivorian-Jones at inquiries@ivorianjones.com https://www.ivorianjones.com/lynda-benglis daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1614192745968-MREXXSFDFICLZ1R4H9W9/Lynda+Benglis+.jpg Lynda Benglis - Lynda Benglis Elephant Necklace, 2017 White bronze sculpture cast at Bollinger Atelier, from a unique ceramic work produced at the Taos, New Mexico studio of Hank Saxe and Cynthia Patterson 8 1/2 × 11 × 10 1/2 in (21.6 × 27.9 × 26.7 cm) Edition of twenty with seven APs, each signed and numbered Published by Lisa Ivorian-Jones for the New Museum Price Upon Request In celebration of the New Museum’s fortieth anniversary and its tenth year on the Bowery, Lynda Benglis has created Elephant Necklace (2017). The limited edition deepens the artist’s history with the Museum, which proudly presented her first retrospective in 2011. Elephant Necklace (2017) is a highly polished nickel-bronze cast of a unique ceramic created in the Taos, New Mexico studio of Hank Saxe and Cynthia Patterson, longtime collaborators of the artist. Benglis notes that Elephant Necklace series is reminiscent of blown-out tires found on the side of the freeway. “Elephant Necklaces are artifacts that I imagine as extrusions of life,” she says. “They could be described as fragments from mammoths’ trunks of an ancient time. Or perhaps they resemble strange umbilical cords cut after the expulsion from the Garden of Eden.” About Lynda Benglis Lynda Benglis (American, b. 1941) is a sculptor best known for her poured latex and foam works. Born in Lake Charles, LA, Benglis earned a BFA from Newcomb College in New Orleans in 1964, and studied at the Brooklyn Museum School of Art in New York during the following year. Benglis seeks to challenge a male-dominated discourse in art by creating work that is sensual, body-oriented, and decorative. Her work has been exhibited at the Whitney Museum of American Art in New York, NY; The Walker Art Center in Minneapolis, MN; and the Centre Pompidou in Paris, France. She is represented by the Cheim & Read gallery in New York. The artist currently works in New York, NY, and Santa Fe, NM. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/press daily 0.75 2024-08-01 https://www.ivorianjones.com/gallery-test daily 0.75 2021-03-18 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615263844236-LMPRAQ46RAB2RVISR4R9/Frank+Benson.jpg Gallery Test - Frank Benson Frank Benson https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615264012625-GNPCZVC2A9CR8BUQA4AG/Lynda+Benglis+.jpg Gallery Test - Lynda Benglis Elephant Necklace, 2017 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616028829876-JINFIKGFU86VMO9ZN4PT/TAYLH107554-hires-4.jpeg Gallery Test - HENRY TAYLOR Untitled, 2020 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616029006176-WR3W8MBBRD4ALGC989P3/Elizabeth+P.jpeg Gallery Test - ELIZABETH PEYTON Isa (Isa Genzken 1980), 2011 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616026978448-6PEG3KLDHRPB0PCJ1XTL/3-Photo-Joshua_White-jwpictures.com-5152.jpg Gallery Test - NAOTAKA HIRO Untitled, 2018/19 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615264224352-EBTWHL67XH01ESIJTHCI/AC2018-0019-Aura-John-Baldessari-2003-2018-CALARTS-EDITION_hi-res_c.jpg Gallery Test - Anne Collier Aura (John Baldessari 200), 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027077081-OOU1SU2PKDDFF3S494O3/4-Photo-Joshua_White-jwpictures.com-0744.jpg Gallery Test - STEPHEN PRINA English for Foreigners Redux, 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615264114115-4JAJ6OQZ2GOD26QWEFBI/MARK+BRADFORD.png Gallery Test - Mark Bradford Untitled, 2009 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027173095-5YV7GT2D4Y1WKHBSOLU4/5-Photo-Joshua_White-jwpictures.com-5675.jpg Gallery Test - GALA PORRAS-KIM Composite Artifact, 2019 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615263937394-70A45FVIJVT6XVZ14W2V/JIM+LAMBIE.png Gallery Test - Jim Lambie Dubtronic, 2005 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027637971-IBC29SGGAXJ6G1KE9GKL/LED-2018-LJD-LS-03.jpg Gallery Test - LADDIE JOHN DILL CalArts Light, 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027803077-ZOFHVUNDJHY4QTR9XJDG/LED-2018-JG-MILK-03.jpg Gallery Test - JOE GOODE Dangerous Territory, 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027330755-456UPB7MY9RDI5KMX4Z9/LED-2018-JB-PG-01.jpg Gallery Test - JOHN BALDESSARI Quack, 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1615264157377-67OL1AURKG0SOOIRWYCH/NATE+LOWMAN.png Gallery Test - Nate Lowman Courtesy Professionalism Respcect, 2010 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616028137025-XWDL9EWYMPJ2KLGRFTU3/Photo-Joshua_White-jwpictures.com-24291.jpg Gallery Test - BARBARA T. SMITH Invisible, 2018 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616027975029-CSPUG8DEXTJFODL6WGYU/LED-2018-TO-LC-03.jpg Gallery Test - TONY OURSLER Lucky Charm, 2019 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616028242653-SICXRW0DRWEFQHOEE0UY/stingel.png Gallery Test - RUDOLF STINGEL Untitled (Studio Floor), 2009 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616028069288-DTHD4OURDJV5TE0GW1XV/Photo-Joshua_White-jwpictures.com-0539-13.jpg Gallery Test - CARRIE MAE WEEMS Queen B, 2018/19 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1616029216826-NAH4R6RWLYL7X2A81MMR/djurberg.png Gallery Test - NATHALIE DJURBERG Things Cut In Half and Split in Two, 2013 https://www.ivorianjones.com/camille-henrot daily 0.75 2021-04-13 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1618335186293-BIMS825QA7KH16B1PV20/image001.jpg Camille Henrot - Camille Henrot Family Life, 2020 Stainless steel and digital inkjet prints on white Kozo paper, screen-printed en verso; folded and adhered with PSA to stainless steel panels Overall dimensions: 25 in x 13.5 in x 13.5 in Hanging frame dimensions: 13 x 16 x 3/32 in Edition of 25 with 6 APs and 1 PP Signed and numbered Published by Lisa Ivorian-Jones for the New Museum Price Upon Request Family Life, 2020, is a limited edition lamp by artist Camille Henrot, published by Lisa Ivorian-Jones for the New Museum. Camille Henrot’s lamp is comprised of four vignettes of domestic life captured at different hours of the day. Centered on the idea of the hearth and the warmth of home, the piece explores the bedroom as both a mental and physical space that we long for—and also as the place of our worst nightmares. Family Life (2020) brings together the contrasting feelings of fear and security into a gorgeous, functional object. While the design is partially visible during the daytime, part of the imagery is revealed only at night, when the lamp is turned on. This unique design is achieved through a complex printing process that mimics traditional watermarking. About Camille Henrot Camille Henrot was born in 1978 in Paris and lives and works in New York. A survey exhibition at the National Gallery of Victoria, Melbourne is scheduled for 2021. Additional one person exhibitions are scheduled at Kestnergesellchaft, Hannover (2021) and the Middelheim Museum in Antwerp (2022). Her work will also be included in the 2021 editions of the Liverpool Biennial and the Busan Biennale. In 2017 her "Carte Blanche" exhibition Days are Dogs opened at Palais de Tokyo in Paris. She presented The Pale Fox at Chisenhale Gallery, London in 2014, which later traveled to Bétonsalon, Paris; Kunsthal Charlottenborg, Copenhagen; and Westfalen Kunstverein Münster. She has had additional one-person exhibitions at Art Sonje, Seoul; Tokyo Opera City Art Gallery; Kunsthalle Wien; Albright-Knox Art Gallery, Buffalo; La Fondazione Memmo, Rome; New Museum, New York; Schinkel Pavillon, Berlin; New Orleans Museum of Art; Espace Culturel Louis Vuitton, Paris; and Jeu de Paume, Paris. She participated in the 9th Berlin Biennale; Prospect 3, New Orleans; and the 2014 Taipei and Gwangju Biennials. Her awards include the Silver Lion at the 55th Venice Biennale, the 2014 Nam Jun Paik Award, and the 2015 Edvard Munch Award, which will be accompanied by a one-person exhibition at the Munch Museum in Oslo in 2021. For sales inquiries contact Publisher Lisa Ivorian-Jones at 212-229-6762 or inquiries@ivorianjones.com https://www.ivorianjones.com/camille-henrot-copy daily 0.75 2024-08-01 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1722550781812-FERHAL6LYVV7CJHLMUJN/Sarah_Sze_Torn_Sky_02_CR_008.JPG Sarah Sze - Sarah Sze Sarah Sze Torn Sky, 2023 Cast stainless steel, archival print, plywood and pine base Cube dimensions: 6” x 5 ½” x 6 ¼” Base dimensions: 11 ¼” x 10 5/16” x 2 ¾” Print dimensions: 11” x 7 ½” Approximate overall dimensions with print: 14” x 11 ½” x 9 ¼” Edition of 14, signature stamped and numbered Published by Lisa Ivorian-Jones Torn Sky, 2023 by Sarah Sze is a new limited-edition sculpture produced by Lisa Ivorian-Jones. Sold to support exhibition programming at the New Museum, the edition has been published in a limited and unique series of 14. Torn Sky is comprised of a stainless-steel cast cube sculpture (two carved halves of a whole) and an archival print, which sit atop a wooden pedestal. In order to create the cube, the artist shaped a standard block of clay by hand, subsequently 3D scanning, printing, and casting it. The resultant crater-like forms appear to have been subject to the deleterious effects of erosion and the natural passing of time; shards and fragments from the carved-out interior lie upon a wooden base, reminiscent of fallen petals. The high polish of the interior forms and fragments stand in crisp contrast to their beautifully hand painted matte grey exterior. Each of these eroded cubes, in a series of 14, sits atop a unique archival print which depict images taken by the artist of the New York City sky at different times of day and night. Most beautifully encompassing all critical aspects of this MacArthur Award winning artist’s varied and multi-faceted practice, Torn Sky refers to the active process of studio creation, and the inherent passage of time. Thwarting the viewer’s expectations through her brilliant and nuanced play of both scale and material, Sze allows time to collapse, as the sculpture’s journey from humble clay to impermeable steel is evoked. A telescoping of micro and macro, Torn Sky reorients us by opening a new way of looking at both the earth and the sky (the heavens), not only materially, but also in ways both phenomenological and metaphysical. Born in Boston in 1969, Sze presently lives and works in New York. She received a BA from Yale University in Connecticut in 1991 and an MFA from New York’s School of Visual Arts in 1997. She is a 2003 MacArthur Fellow. In 2013, Sze represented the United States at the 55th Venice Biennale with a solo pavilion presentation entitled Triple Point. Other important solo exhibitions include Solomon R. Guggenheim Museum (2023); Storm King Art Center, New York (2021); Fondation Cartier Pour L'art Contemporain, Paris (2021); MOCA Toronto (2020); Haus der Kunst, Munich (2017-2018); Rose Art Museum at Bradis University (2016); Fabric Workshop and Museum in Philadelphia (2014), Asia Society in New York (2011-12), Baltic Centre for Contemporary Art in Newcastle, UK (2009), Malmo Konsthall in Sweden (2006), Whitney Museum of American Art in New York (2003), Museum of Fine Arts in Boston (2002), Walker Art Center in Minneapolis (2002), Museum of Contemporary Art in Chicago (1999), Foundation Cartier in Paris (1999), and the Institute of Contemporary Arts in London (1998). She has conceived major public commissions at New York City’s High Line Park (2011-12), the Doris C. Freedman Plaza in New York City, organized by the Public Art Fund (2006), Massachusetts Institute of Technology in Cambridge (2004); New York Metropolitan Transportation Authority’s 2nd Avenue subway line, 96th street station, New York (2017); La Guardia Airport (2020); Storm King Art Center, New York. Her work is well represented in important private and public collections worldwide, including those of New York’s Guggenheim Museum, and Museum of Modern Art, The New Museum, and Whitney Museum of American Art, along with the Museum of Contemporary Art, Chicago, San Francisco Museum of Modern Art, 21st Century Museum of Art in Kanazawa, Japan, Walker Art Center in Minneapolis, Boston Museum of Fine Arts, High Museum of Art in Atlanta, GA, Tate Collection, London, Los Angeles Museum of Contemporary Art, Fondation Louis Vuitton, France, among others. https://www.ivorianjones.com/lauren-halsey daily 0.75 2024-08-01 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/1722551816661-BH3MZ96FWY8MVMLPWB1B/LHA+21-051+Medium.jpeg Lauren Halsey - Lauren Halsey Lauren Halsey Untitled, 2022 7-color screen-print on paper 36 × 24 inches (unframed) 24 ¼ × 36 ¼ × 1 ½ inches (framed) Edition of 15, with 4 APs and 2 PPs, 1 BAT Signed and numbered by the Artist Printed by Tom Kracauer Published for CalArts by Lisa Ivorian-Jones Untitled, 2022, by artist Lauren Halsey (b. 1987, Los Angeles) is a limited edition 7-color screenprint which belongs to Halsey's series of digital collage works, which she refers to as “fantastical cartographies”; maps that reflect the lives of the people and places around her. In the words of Halsey, “I want to compel dreaming, new aspirations, proposals for the future. I’m interested in making gorgeous black space for Black people—what I hope to be future spaces that are actually functional in a neighborhood as habitats. Not just representations of architectures as maquettes in an art gallery or museum, but the everyday experience of living with it and in it.” Directly anchored and underpinned by Halsey’s beloved home of South Central Los Angeles, the dazzling composition of Untitled, 2022 is infused with bright psychedelic neon green, and takes inspiration from the music collective, Parliament-Funkadelic. Collaged and rendered in the artist’s inescapably unique vocabulary and style, the print incorporates ancient and contemporary symbols, Egyptian culture, Afrofuturist references and contemporary posters, amongst other brilliantly interwoven elements. In a recent profile for the New York Times, Halsey aptly states, “I’m an obsessive collector of objects, of images — scanning the streets,” she added. “I’ve been collecting as long as I could breathe.” In Spring 2023 Halsey introduced a newly commissioned site-specific installation for the The Metropolitan Museum of Art, New York, Iris and B. Gerald Cantor Roof Garden to great critical acclaim. Halsey was awarded Seattle Art Museum’s 2021 Gwendolyn Knight and Jacob Lawrence Prize and was the subject of a solo exhibition at the museum in 2022. She has also presented solo exhibitions at the Museum of Fine Arts, Boston (2021); David Kordansky Gallery, Los Angeles (2020); Fondation Louis Vuitton, Paris (2019); and Museum of Contemporary Art, Los Angeles (2018). Halsey participated in Made in L.A. 2018, Hammer Museum, Los Angeles, where she was awarded the Mohn Award for artistic excellence. Her work is in the collections of the Institute of Contemporary Art, Miami; Museum of Fine Arts, Boston; Columbus Museum of Art, Ohio; Hammer Museum, Los Angeles; and Museum of Contemporary Art, Los Angeles. In 2020, Halsey founded Summaeverythang Community Center and is currently in the process of developing a major public monument for construction in South Central Los Angeles. Her work will be the subject of a catalogue published by David Kordansky Gallery in 2022. Halsey lives and works in Los Angeles. https://www.ivorianjones.com/larry-bell daily 0.75 2024-08-01 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/facfac27-876d-4692-a6fb-c31e497a2b57/2022.03+Andrea+Bowers0+25.jpg Andrea Bowers - Andrea Bowers Andrea Bowers Ecofeminist Sycamore Branch, Honor Earth (CalArts 50+50), 2022 39 (wide) x 21.5 (tall) x around 6 (deep) inches, with transformer on floor below (variable dims) Oxidized Steel, Neon (green and clear blue), and recycled tube supports Edition of 10 with 4 APs Produced for CalArts by Lisa Ivorian-Jones In beautiful contemplation of nature’s fragility and resilience, artist Andrea Bowers has generously created a new domestic scale sculpture edition, Ecofeminist Sycamore Branch, Honor Earth (CalArts 50+50), 2022 for CalArts’ 50+50. The words Honor Earth, arrested mid-air in a limpid blue neon script, stand above delicately poised sycamore leaves of interwoven steel and neon green. Made entirely of reused and recycled materials, Ecofeminist Sycamore Branch, Honor Earth (CalArts 50+50), 2022 continues the artist’s series of sculptures which are based on the designs of tree branches, and are made in response to the current climate emergency. Incorporating quotes from eco-feminists, inspired by Judi Bari and the Earth First! call to action, “Resist Reuse Restore”, the works stand as urgent appeals by the artist to take care of the irreplaceable planet that is our home, and upon which we fully depend. Andrea Bowers is currently enjoying a retrospective show at the Hammer Museum, Los Angeles, which recently traveled from the Museum of Contemporary Art, Chicago. She has had solo shows at the Contemporary Arts Center, Cincinnati; Bronx Museum, New York; Espace Cultural Louis Vuitton, Paris; Pomona and Pitzer College Museum of Art, Claremont, CA; Vienna Secession, Austria, and the Power Plant, Toronto. Her work has recently been included in group exhibitions at the Berkeley Art Museum (2021); MCA Denver (2020); the Walker Art Center (2020); and Migros Museum, Zurich (2019). Bowers’ work is held in the collections of Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hirshhorn Museum, Washington D.C.; MOCA Los Angeles and the Hammer Museum, Los Angeles. Bowers has an MFA from the California Institute of the Arts. https://www.ivorianjones.com/martin-puryear daily 0.75 2025-09-22 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/068b9442-13f6-4b83-a067-6e5459beb6ce/Screenshot+2025-09-22+at+10.28.00.png Martin Puryear - Martin Puryear One Handed Stool, 2015 Pine and maple with steel rod spine, lathe turned by hand 14 ¾” x 14 7/8” Edition of 25 numbered with 10 Artist Proofs, numbered, dated and signed by the artist. Numbers 2/25 through 25/25 finished with milk paint or Japan Color, hand painted in several color layers/patterns, and hand rubbed. (With use and wear the colors will continue to gain in complexity.) Produced by Lisa Ivorian-Jones for the New Museum of Contemporary Art Martin Puryear’s One Handed Stool, 2015, is both sculpted and functional. Exploring both color and form in equal measure, each stool has been individually and uniquely hand painted by the artist. Some are multi-layered with water-based milk paints; some are patterned; others have been treated with a wash of color, allowing the grain of the wood to be seen; and others have an unexpected underlay of paint, that makes itself known gradually. The tops and bottoms of each stool are of pine, hand turned on a lathe, and the three middle elements have been machine turned in maple, the wood hard enough to achieve the sharp pointed edges that assert themselves aside the soft curvilinear pine. Like a totem or a column, the wooden bead like elements are stacked upon one another. Each and every stool has been thoughtfully considered by this extraordinary artist to last forever, and Puryear expects them to evolve and change beautifully with wear; different layers of color emerging and revealing themselves through age. About Martin Puryear Martin Puryear was born in 1941 in Washington, DC, and was educated at Catholic University in Washington, the Royal Swedish Academy of Arts in Stockholm, and Yale University. His first one-person exhibition was in 1968, and since then he has exhibited throughout the world, including public commissions in Europe, Asia, and the United States. He represented the United States at the 1989 Bienal de São Paulo, where he was awarded the festival’s Grand Prize, and his work was featured in Documenta 9 in 1992. In 2007 the Museum of Modern Art in New York organized a survey of his work, which traveled to the National Gallery of Art in Washington, the San Francisco Museum of Modern Art, and the Modern Art Museum of Fort Worth. In 2015 the Art Institute of Chicago organized an exhibition of fifty years of his works on paper, which traveled to the Morgan Library and Museum in New York and the Smithsonian American Art Museum in Washington. Puryear received a MacArthur Foundation award in 1989 and a National Medal of Arts from President Obama in 2011. Puryear represented the United States at the 58th Venice Biennale, and a major retrospective of his work, Martin Puryear: Nexus, will open at the Museum of Fine Arts, Boston in October 2025. https://www.ivorianjones.com/lotus-kang daily 0.75 2026-02-05 https://images.squarespace-cdn.com/content/v1/5ca8c714797f7475f984e40e/834f6e92-b4bb-461c-a3db-8b359cc3cf9b/lotuskang.png Lotus Kang - Lotus L. Kang Borne, 2025 Cast bronze with hand-applied patina Cabbage leaf dimensions: 21 inches (long) x 6.5 inches (wide) x 2 inches (high) Bird dimensions: 2.5 inches (long) x 2.5 inches (wide) x 2.5 inches (high) Edition of 25 with 7 AP’s Published by Lisa Ivorian-Jones to benefit the New Museum $6,500 Borne 2025 is comprised of two cabbage leaves, cast in bronze and welded together, with hand applied patina. An untethered crying baby bird, cast in bronze from a porcelain figurine original, remains modular in the sculpture’s arrangement. The twin cabbage leaves mirror one another, fanning outwards like a pair of lungs or outspread hands. Continuing the artist’s interest in the latent potential of vessels and voids, the form suggests an offering bowl without clear ritual. The delicate ventricular vegetal arteries and veins of the leaves’ surfaces captured in bronze replica, are counterbalanced by hard-edged cuts evidencing the labor and hand inscribed in the casting process witnessed at the outer edges of the leaves. In Kang’s description, “As soon as something feels tender, I want to contrast it with a kind of severity.” By including these crude sprue marks (not buffing them away), Kang brings our attention to the technical zones which allow for molten metal to disperse through the mold during the casting process. The sprues are, in effect, orifices and conduits. In Chinese medicine, cabbage’s assigned color is white, which is also the color of the Lung organ, whose spiritual purpose is to store and release grief and loss. Kang’s open mouthed and vulnerable baby birds await their sustenance, and stand as symbols of inheritance, regurgitation, transformation and renewal, and an unceasing longing for the mother body in all its forms. The work cathartically acknowledges the contingency of being and the forebears or multitudes the body contains—a cycle of life and death already in progress. Lotus L. Kang (b. 1985, Toronto; lives and works in Brooklyn) received an MFA from the Milton Avery School of the Arts, Annandale-on-Hudson (2015) and a BFA from Concordia University, Montreal (2008). Selected solo exhibitions: 52 Walker, New York (2025); Museum of Contemporary Art Chicago (2023); Contemporary Art Gallery, Vancouver (2023); Chisenhale Gallery, London (2023). Selected group exhibitions have been held at Museum of Modern Art, New York (2025); Julia Stoschek Foundation, Berlin (2024); Kunstverein Munich (2024); Museum of Contemporary Art Toronto (2024); Whitney Museum of American Art, New York (2024); Hessel Museum of Art, Annandale on Hudson (2023); Art Gallery of Ontario, Toronto (2023); New Museum, New York (2021); and SculptureCenter, Queens (2020). Kang is a recipient of a John Simon Guggenheim Memorial Foundation Fellowship (2024). Kang has participated in residencies at Rivers Institute for Contemporary Art and Thought, New Orleans (2023),Triangle Arts Association, New York (2022); Horizon Art Foundation, Los Angeles, (2022); Banff Centre for Arts and Creativity, Alberta (2020); and Rupert Residency, Vilnius (2018). Kang’s work is in the collections of Art Gallery of Ontario, Toronto; Kadist Art Foundation; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Rivoli Due Fondazione per l'Arte Contemporanea, Milan; Tanoto Art Foundation, Singapore; Whitney Museum of American Art, New York; and Wrocław Contemporary Museum. The artist is represented by Commonwealth and Council, Esther Schipper, and Franz Kaka.