Andy Warhol | Focus on Fashion
Fashion Year: 1981
Medium: Graphite on paper
Size: 31.375 x 23.375 in (79.7 x 59.4 cm)
Frame size: 38.5 x 30.75 in (97.7 x 78.1 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, TOP 78.012, on verso).
Fashion Year: Circa 1984
Medium: Graphite on paper
Size: 31.375 x 23.375 in (79.7 x 59.4 cm)
Frame size: 38.25 x 30.25 in (97.1 x 76.8 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, TOP 78.015, on verso).
Fashion Year: Circa 1984
Medium: Graphite on paper
Size: 31.25 x 23.5 in (79.4 x 59.7 cm)
Frame size: 37.75 x 30.375 in (95.8 x 77.1 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, TOP 78.007, on verso).
Paola Dominguin Year: 1982
Medium: Graphite on paper
Size: 31.25 x 23.625 in (79.4 x 60 cm)
Frame size: 38.25 x 30.5 in (97.1 x 77.4 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, TOP 78.004, on verso).
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Fashion Year: Circa 1984
Medium: Graphite on paper
Size: 31.625 x 23.625 in (80.3 x 60 cm)
Frame size: 38.25 x 30.75 in (97.1 x 78.1 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, TOP 78.006, on verso).
Fashion (Paola Dominguin)
Year: Circa 1981
Medium: Unique polaroid print
Size: 4.25 x 3.375 in (10.8 x 8.6 cm)
Frame size: 11.25 x 9.25 in (28.5 x 23.4 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, FA12.00146, on verso).
Fashion
Year: Circa 1981
Medium: Unique polaroid print
Size: 4.25 x 3.375 in (10.8 x 8.6 cm)
Frame size: 4.25 x 3.375 in (10.8 x 8.6 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, FA12.00125, on verso).
Paola Dominguin
Year: Circa 1981
Medium: Unique polaroid print
Size: 4.25 x 3.375 in (10.8 x 8.6 cm)
Frame size: 11.25 x 9.25 in (28.5 x 23.4 cm)
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery; authenticated by the Warhol Foundation (stamp and archive number, FA12.00124, on verso).
About this work: In 1949, on his second day introducing himself to publishers in New York, Warhol received his first assignment as a commercial illustrator: to illustrate shoes for New York’s Glamour magazine. His portfolio caught the eye of then-Art Director Tina Fredericks, who commissioned him on the spot to do work for the magazine. It was apparently at this job—after showing up for work with drawings of shoes that had been worn and looked a bit worn-out—that he learned a very important lesson: that shoes are the object of desire for every woman, and must therefore be presented in a favorable light.
“One of Warhol’s first jobs as a professional commercial graphic artist was to make drawings of shoes that were given to him. When he came back the next day with portraits of the shoes, Tina Fredericks … explained to him that it was not about drawing shoes with character, but about drawing new, unworn shoes. The shoes that served as his models began piling up at his apartment, and it is known that in these years his passion for shoe collecting emerged. The artist later wrote self-mockingly: ‘When I used to do shoe drawings for the magazines I would get a certain amount for each shoe, so then I would count up my shoes to figure out how much I was going to get. I lived by the number of shoe drawings – when I counted them, I knew how much money I had.’”1
Warhol was also responsible for revamping I. Miller’s advertising campaign in the 1950s, specifically through his blotted line drawings of shoes; he went on to produce more than 300 illustrations for I. Miller shoes, whose ads appeared in The New York Times almost every Sunday. His “primitivist ‘idea art’” appealed to shoe executives who thought it would appeal to women’s “good taste and … emotions.”2 He was so successful that he eventually became known in the industry as “the shoe person.”
1 Nina Schleif, “Clever Frivolity in Excelsis: Warhol’s Promotional Books,” in Reading Andy Warhol (Ostfildern: Hatje Cantz, 2013), 101.
2 Blake Gopnik, “Warhol outside-in,” in Adman: Warhol Before Pop, ed. Nicholas Chambers (Sidney & Pittsburgh: Art Gallery of New South Wales & The Andy Warhol Museum, 2017), 29.
Shoe
Year: Circa 1950s
Medium: Graphite and ink on paper, two attached sheets
Size: 114.625 x 23 in (37.1 x 58.4 cm)
Frame size: 21.5 x 42.75 in (54.6 x 108.5 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to LongSharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, 320.020 A-B on verso, on verso)
[SOLD]
About this work: In 1949, on his second day introducing himself to publishers in New York, Warhol received his first assignment as a commercial illustrator: to illustrate shoes for New York’s Glamour magazine. His portfolio caught the eye of then-Art Director Tina Fredericks, who commissioned him on the spot to do work for the magazine. It was apparently at this job—after showing up for work with drawings of shoes that had been worn and looked a bit worn-out—that he learned a very important lesson: that shoes are the object of desire for every woman, and must therefore be presented in a favorable light.
“One of Warhol’s first jobs as a professional commercial graphic artist was to make drawings of shoes that were given to him. When he came back the next day with portraits of the shoes, Tina Fredericks … explained to him that it was not about drawing shoes with character, but about drawing new, unworn shoes. The shoes that served as his models began piling up at his apartment, and it is known that in these years his passion for shoe collecting emerged. The artist later wrote self-mockingly: ‘When I used to do shoe drawings for the magazines I would get a certain amount for each shoe, so then I would count up my shoes to figure out how much I was going to get. I lived by the number of shoe drawings – when I counted them, I knew how much money I had.’”1
Warhol was also responsible for revamping I. Miller’s advertising campaign in the 1950s, specifically through his blotted line drawings of shoes; he went on to produce more than 300 illustrations for I. Miller shoes, whose ads appeared in The New York Times almost every Sunday. His “primitivist ‘idea art’” appealed to shoe executives who thought it would appeal to women’s “good taste and … emotions.”2 He was so successful that he eventually became known in the industry as “the shoe person.”
1 Nina Schleif, “Clever Frivolity in Excelsis: Warhol’s Promotional Books,” in Reading Andy Warhol (Ostfildern: Hatje Cantz, 2013), 101.
2 Blake Gopnik, “Warhol outside-in,” in Adman: Warhol Before Pop, ed. Nicholas Chambers (Sidney & Pittsburgh: Art Gallery of New South Wales & The Andy Warhol Museum, 2017), 29.
Shoe
Year: Circa 1954
Medium: Ink and graphite on paper
Size: 11.5 x 15 in (29.2 x 38.1 cm)
Frame size: 16.75 x 16.5 in (42.5 x 41.9 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, TOP 343.194, on verso)
[SOLD]
About this work: These Polaroids of shoes capture one of Andy Warhol’s most iconic and enduring themes. He began drawing shoes in the 1950s as a commercial illustrator in New York and became so successful at it that he was known as “the shoe person.” For the next three decades, he would continue depicting shoes of various types in assorted formations in his drawings, screenprints, and paintings. These polaroids in particular were of Warhol’s process in creating his series of Diamond Dust Shoes (FS.II 253-257), shown below.
Shoes
Year: 1981
Medium: Unique polaroid print
Size: 4.25 x 3.375 in (10.8 x 8.6 cm)
Frame size: 11 x 8.875 in (27.9 x 22.5 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FA09.01513, on verso)
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“Advertising is communication, persuasion – Andy practiced the art of persuasion as well as anybody.”
- Stephen Frankfurt, Art Director, Young & Rubicam.1
About this work: Imbued with a keen eye, inimitable wit, and an intuitive sense of mass appeal, advertising may have been the perfect microcosm for Andy Warhol. “Warhol’s commercial output in the 1950s lay squarely in the ‘creative’ camp, while also revealing a natural aptitude for understanding the psychological factors at play in consumer desire.”2 Whether illustrating for magazines like Vogue, Harper’s Bazaar, Glamour, or any of the other national publications that eagerly snapped up his designs, Warhol was able to capture and capitalize on the pulse of pop culture. He applied this same savvy to collaborations with famous designers of the era, though perhaps none more vociferously than fashion designer Halston.
The two powerhouse entrepreneurs met in the early 1970s through fashion designer Joe Eula. They became close friends who each influenced the other’s creative practice in unique ways. Halston, for example, used Warhol’s works as inspiration for his designs, including a 1972 dress based on Warhol’s 1964 Flowers canvas. Indeed, the two were so involved in each other’s careers that a book has been written on their friendship and collaborations, Halston and Warhol: Silver and Suede (New York: Harry N. Abrams, 2014).
In 1982, Warhol designed an advertising campaign for Halston’s eponymous brand, including features for menswear, accessories, and fragrance. His relationship to advertising was nothing new; rather, it was an extension of a skill developed in the early days of his career and honed over time.
1 Nicholas Chambers, “Andy Warhol: adman,” in Adman: Warhol Before Pop, ed. Nicholas Chambers (Sidney & Pittsburgh: Art Gallery of New South Wales & The Andy Warhol Museum, 2017), 18.
2 Ibid., 16.
Perfume Bottles (Light)
Year: 1979
Medium: Unique polaroid print
Size: 3.375 x 4.25 in (8.6 x 10.8 cm)
Frame size: 9.25 x 11.25 in (23.5 x 28.6 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FA09.00091, on verso)
“Advertising is communication, persuasion – Andy practiced the art of persuasion as well as anybody.”
- Stephen Frankfurt, Art Director, Young & Rubicam.1
About this work: Imbued with a keen eye, inimitable wit, and an intuitive sense of mass appeal, advertising may have been the perfect microcosm for Andy Warhol. “Warhol’s commercial output in the 1950s lay squarely in the ‘creative’ camp, while also revealing a natural aptitude for understanding the psychological factors at play in consumer desire.”2 Whether illustrating for magazines like Vogue, Harper’s Bazaar, Glamour, or any of the other national publications that eagerly snapped up his designs, Warhol was able to capture and capitalize on the pulse of pop culture. He applied this same savvy to collaborations with famous designers of the era, though perhaps none more vociferously than fashion designer Halston.
The two powerhouse entrepreneurs met in the early 1970s through fashion designer Joe Eula. They became close friends who each influenced the other’s creative practice in unique ways. Halston, for example, used Warhol’s works as inspiration for his designs, including a 1972 dress based on Warhol’s 1964 Flowers canvas. Indeed, the two were so involved in each other’s careers that a book has been written on their friendship and collaborations, Halston and Warhol: Silver and Suede (New York: Harry N. Abrams, 2014).
In 1982, Warhol designed an advertising campaign for Halston’s eponymous brand, including features for menswear, accessories, and fragrance. His relationship to advertising was nothing new; rather, it was an extension of a skill developed in the early days of his career and honed over time.
1 Nicholas Chambers, “Andy Warhol: adman,” in Adman: Warhol Before Pop, ed. Nicholas Chambers (Sidney & Pittsburgh: Art Gallery of New South Wales & The Andy Warhol Museum, 2017), 18.
2 Ibid., 16.
Fragrance and Cosmetics, study for Halston Advertising Campaign Year: 1982
Medium: Graphite on paper
Size: 30 x 40 in (76.2 x 101.6 cm)
Frame size: 36.25 x 45.5 in (92.1 x 115.6 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, TOP 79.012, on verso)
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About this work: “Not only did Halston collect Warhol’s artwork, which he displayed in his 63rd Street Manhattan townhouse and Montauk retreat rented from Warhol, but Halston was also portrayed in several of Warhol’s artworks. In 1979, Warhol dedicated a chapter of his book, Andy Warhol’s Exposures, to Halston, describing him as the ‘first All-American fashion designer.’”
Halston at the Beach House Year: 1982
Medium: Unique gelatin silver print
Size: 10 x 8 in (25.4 x 20.3 cm)
Frame size: 17.5 x 16 in (44.4 x 40.6 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FL05.05086, on verso)
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About this work: Grace Jones is a groundbreaking musician, model, actress, and performer. Born in Jamaica in 1948 (or 1951, according to Jones), she began xing in the early 1970s and released her first album that same decade.
Andy Warhol and Jones met in the mid-1970s, drawn together by mutual friends and shared interests. Jones appeared in Interview Magazine in 1977 and was featured on the cover in 1984. Warhol took multiple photos of Jones throughout the 1980s (some of which he turned into stitched photo collages); he arranged a meeting between Keith Haring and Jones in 1984 at Robert Mapplethorpe’s studio [1], where Haring turned Jones’s body into a canvas for his body-painting; Warhol was also commissioned by Vogue to photograph Jones that same year. [2] While no one remembers the specific circumstances of their first meeting, Jones recalls in her memoir: “One minute you don’t know him, and then you do.”
1 “Untitled (Body Painting) | Keith Haring.” n.d. https://www.haring.com/!/art-work/199-2.
2 Tate. n.d. “‘Grace Jones‘, Andy Warhol, 1986 | Tate.” https://www.tate.org.uk/art/artworks/warhol-grace-jones-ar00290.
Grace Jones
Year: 1984
Medium: Unique polaroid print
Size: 4.25 x 3.25 in (10.8 x 8.1 cm)
Frame size: 8.875 x 11 in (22.5 x 27.9 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FA12.01449, on verso)
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About this work: In 1956, Andy Warhol created a series of holiday-themed drawings for Tiffany & Co. in New York City. These drawings ranged from angels to whimsical Christmas trees and ornaments to drawings of shoes. The first Warhol Christmas card, Butterfly Tree, was published in Tiffany’s 1956 catalogue, bearing a caption that read “Gay cards with Christmas Spirit.”1 Tiffany & Co. continued publishing Warhol’s illustrations as Christmas cards until 1962.
A Whole Stocking Full of Good Wishes was created around the same time and features the signature script of Julia Warhola. “Shoes made a nice Christmas image. St. Nicholas, as legend has it, threw gold coins in the window of three sisters who needed dowries to marry; the gold coins landed in their shoes (which also explains Christmas stockings).”2
Warhol’s enthusiasm for both Christmas and shoes can be traced throughout the decades. This piece brings together both of these loves and offers Warhol’s holiday wishes for the kind of Christmas he perhaps never had.
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1 John Loring, Greetings from Andy (Warhol): Christmas at Tiffany’s (New York: Harry N. Abrams, 2004), 7.
2 Ibid., 10.
A Whole Stocking Full of Good Wishes
Year: Circa 1955
Medium: Offset lithograph on paper
Size: 22 x 17 in (55.9 x 43.2 cm)
Frame size: 27.25 x 22.25 in (69.2 x 56.5 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, PM 16.0424, on verso)
ROY LICHTENSTEIN (American, 1923-1997)
An innovative artist and founder of the American Pop Art movement, Roy Lichtenstein (19231997) is best known for his re-appropriation of the Ben Day dot pattern, a printing process similar to Pointillism, which was initially used in commercial engraving. Alluding to the mechanical technique used in newspapers and comic strips through a use of bold colors, thick lines, and texture and gradient, the artist created works that referenced popular culture by whimsically addressing the gimmicks of their conventions. Hailed ultimately for his style of “paraphrasing” (most notably in the instance of otherwise despised images and subject matter), Lichtenstein remains a pivotal figure of the movement.
The artist created his first portfolio of works in the 1950s, after his studies at the Art Students League of New York. The result was a series of paintings surrounding medieval times, which were rendered in a style reflective of the Swiss-German artist Paul Klee. Lichtenstein’s works would later transition in approach, shifting towards a new style of expressionism that was more inclusive of satire and traditionally reminiscent of American genre cowboys and Indians. It was not until the 1960s, however, that the artist developed his signature style of expression. During this exemplary period in his career, Lichtenstein gained popularity through his trademark use of parody, irony, and cliché. By 1962, he had secured his first solo exhibit at the Leo Castelli Gallery, which was entirely sold out to collectors before the opening night. Lichtenstein’s fame grew exponentially from that point forward.
Roy Lichtenstein was born in Manhattan in 1923. As a boy in New York City, he had a passion for both science and comic books. Upon discovering his interest in art, Lichtenstein began his studies at Parsons School of Design in 1937, and shortly following, studied under Reginald Marsh at the Art Students League. In 1940, Lichtenstein attended Ohio State University; however, his studies were hindered due to his obligations to the US Army during the draft of World War II. During this time, he was greatly influenced by the works of European masters and contemporary artists living in France. Lichtenstein ultimately completed his studies at Ohio State University and thereafter continued his teaching career at different universities. Over the ensuing decades, Lichtenstein continued to hone his craft as a painter, printmaker and sculptor. He passed away in 1997 due to complications from pneumonia. Roy Lichtenstein’s art now hangs in museums around the world, including the Museum of Modern Art and Tate Modern in London.
Roy Lichtenstein + Surrealism
While Lichtenstein is recognized as one of the forefathers of American Pop Art, his roots in surrealism are important to understanding his oeuvre.
By the 1940s when Lichtenstein attended art school at Ohio state University (interrupted for military service from 1943-1946), surrealism was widely acclaimed as the matrix style for contemporary American Abstract Art. Collector-dealer Peggy Guggenheim showcased European Surrealism while promoting such American artists as Pollock at her Art of This Century Gallery. Abstract and Surrealist Art in America, an exhibition surveying the exchange between European Surrealists and their American counterparts, was presented in 1944 at museums in Cincinnati, Denver, Seattle, Santa Barbara and San Francisco, in conjunction with the publication of a monograph of the same title by dealer Sidney Janis. Limiting its survey to American artists, the Art Institute of Chicago in 1947 presented Abstract and Surrealist American Art. It hardly comes as a surprise, therefore, that Lichtenstein’s paintings, drawings, and sculptures from the late 1940s and the early 1950s are fundamentally surrealist in spirit, teeming with biomorphic plants and creatures, often inhabiting dream-like nocturnal settings.
Except for their flagrant humor, of course, Lichtenstein’s Pop art and even his 1977-1979 works on surrealist themes are antithetical to fundamental principles of surrealism. Whereas classical Surrealist art strives for spontaneity with the use of automatist and chance techniques, Lichtenstein’s images are strictly premeditated and meticulously rendered. Moreover the inevitably upbeat mood of Lichtenstein’s images is far removed from the foreboding mood essential to even the sunniest Surrealist works. Even so, Lichtenstein’s Pop art works appealed to collectors with a special fascination for Surrealism.
Arguably the most complex pictures Lichtenstein had attempted up until 1977, his surrealist theme works should be understood as an ambitious response to the Whitney Museum of American Art’s survey exhibition Art About Art, organized to investigate the widespread parody and appropriation of history of art icons by contemporary artists since the 1950s. Lichtenstein was the most extensively featured artist in this exhibition, with more than twenty works, including the Picasso-esque Girl with Beach Ball II, 1977 [source excluded].1
From 1977-1979, Lichtenstein would revisit his surrealist roots with a series of paintings and prints. During this extremely prolific period, he created about 49 surrealist paintings and two print series. Seven prints dubbed the “Surrealist Series” were created in 1978 at Gemini G.E.L. Thirteen prints dubbed the “American Indian Theme Series” were begun in 1979 at Tyler Graphics. All were very or fairly small editions (from generally 32 to 50 plus proofs).
About the Gemini G.E.L. series of works (Surrealist Series), it is said that:
[The Gemini G.E.L. prints] presented him with entirely new challenges and significantly altered his way of working. Since the 1960s Lichtenstein had generally utilized photographic and mechanical processes to obtain the clean, impersonal, mass-produced look he sought. But for the Surrealist series, he drew directly on the plates and stones with Spectracolor pencil, sometimes using a combination of Spectracolor pencil and tusche to create the larger areas of color. For this project, Spectracolor pencil proved to be a better drawing medium than the regular lithographic pencil, because its sharpened point was less likely to break against the hard surface of the plate.
One of each print in this series was designated to support Change, Inc., the organization founded by Robert Rauschenberg in 1970 to provide emergency funds to artists in need.2
1 Stuckey, Charles. 2005. Roy Lichtenstein: Conversations with Surrealism. New York: Mitchell-Innes & Nash.
2 Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948–1997, 2nd ed. New York: Hudson Hills Press in association with National Gallery of Art, Washington, D.C., 2002.
A Bright Night Year: 1978
Medium: Lithograph on Arches 88 paper
Numbered, signed (rf Lichtenstein), and dated (‘78) in pencil, lower right. Blind stamp, lower right: (copyright symbol and Gemini G.E.L. chop). Stamped on verso, lower left: (© Gemini G.E.L. 1978). Workshop number on verso in pencil, lower left, beneath stamp: (RL78-857)
From an edition 38; plus 7 AP, 1 TP, 1 RTP, 1 PPII, 3 GEL, 1 C, 1 Change, Inc.; this is AP 6/7
Image size: 18.5 x 21.125 in (47 x 53.7 cm)
Sheet size: 26.5 x 29 in (67.3 x 73.7 cm)
Frame size: 28.5 x 31.125 in (72.4 x 79.1 cm)
Provenance:
Gemini G.E.L. (the printer) Distinguished Private California Collection (upon release) Long-Sharp Gallery
[SOLD]
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Blonde Year: 1978
Medium: Lithograph on Arches 88 paper
Numbered, signed (rf Lichtenstein), and dated (‘78) in pencil, lower right. Blind stamp, lower right: (copyright symbol and Gemini G.E.L. chop). Stamped on verso, lower left: (©Gemini G.E.L. 1978).
Workshop number on verso in pencil, lower left, beneath stamp: (RL78-855).
From an edition of 38; plus 7 AP, 1 TP, 1 RTP, 1 PPII, 1 SP, 3 GEL, 1 C, 1 Change, Inc.; this is AP 6/7
Image size: 21.8125 x 19.125 in (55.4 x 48.6 cm)
Sheet size: 29.75 x 27 in (75.6 x 68.6 cm)
Frame size: 35 x 32 in (88.9 x 81.3 cm)
Provenance:
Gemini G.E.L. (the printer)
Distinguished Private California Collection (upon release) Long-Sharp Gallery
[SOLD]
Click to view a film
Image © Keith Haring Foundation
KEITH HARING
(American, 1958-1990)
Social activist and artist Keith Haring (1958-1990) is internationally acclaimed for his tremendous contribution to the Pop Art movement, as well as to graffiti culture. His beloved loose and colorful works came into popularity after the recognition of his early chalk drawings, which were spontaneously scattered throughout subway cars in New York City. Haring’s signature style, with its bold lines and vivid colors, contrasted starkly to that of his predecessors. Displaying a shift from abstract expressionism to gestural expressionism via the use of his innovative line form, Haring used stark lines to depict certain energy in his subjects, as well as to maintain the overall simplicity of his unique iconography.
Keith Haring held his first solo exhibition in 1982 at Tony Shafrazi’s New York Gallery. By this time, the artist had fostered strong friendships with fellow emerging artists such as Jean Michel Basquiat, Kenny Scharf, and with superstar Andy Warhol. Indeed, Haring was quickly gaining international recognition. Following this, Haring, who remains infamous for his views on birth, death, love, war, and sex, was commissioned to create various mural projects around the world. Most notably, in 1986, Haring was commissioned by the Checkpoint Charlie Museum to paint a mural on the Berlin Wall. Later, Haring began to focus on socio-political themes such as AIDS awareness and the cocaine epidemic. In 1989, he established the renowned Keith Haring Foundation, a creative non-profit organization dedicated to the raising of AIDS awareness.
Born in Pennsylvania in 1958, Keith Haring grew up influenced by Walt Disney cartoons, Dr. Seuss, and his father, who in addition to being an engineer was also an amateur cartoonist. After an initial involvement with the Jesus Movement, Haring abandoned his religious background to pursue his studies in commercial art at Pittsburgh’s Ivy School of Professional Art. Upon losing interest in this path, he settled on a maintenance job at the Pittsburgh Center for the Arts, which provided the setting that ultimately inspired his motivation for creating art. Shortly afterwards, Haring decided to move to New York to study painting at the School of Visual Arts. Keith Haring was diagnosed with AIDS in 1988 and died in 1990, but his works still live on in important collections throughout the world, such as the Museum of Modern Art in New York and the Smithsonian American Art Museum in Washington, D.C.
About this work: In 1984, Pop icon Keith Haring was invited by inaugural director John Buckley to visit the Australian Centre for Contemporary Art (ACCA). During his three-week trip to Australia, Haring drew several site-specific murals. He also created some works on paper that would be exhibited at the ACCA that year.
Haring’s works from 1984, including a few from the Australian exhibition, were some of the earliest depictions of computers in Pop art. Created during a burgeoning technological age, Haring’s works would often feature a computer ironically replacing a brain or depict the human mind in a state of media-induced frenzy.
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Untitled Year: 5 March 1984
Medium: Sumi ink on paper
Size: 33.8 x 48 in (86 x 122 cm)
Frame Size: 43.5 x 57 in (110.4 x 144.7 cm)
Hand signed on verso
Provenance:
Artist
John Buckley, Australia
Marcello Mostardi, Florence, Italy
Private Collection, Italy
Long-Sharp Gallery
Authenticity: Certificate of Authenticity issued by the Estate of Keith Haring
Condition: Very good to excellent
Exhibition History:
1998 American Graffiti, curated by Achille Bonito Oliva.
Travelling Exhibition:
Museu De Arte Contemporanea do Paranà Seec Curitiba, Curitiba, Brazil; Fundacao Clovis Salgado, Belo Horizonte, Brazil; Museu de Arte Moderna Mam Bahia, Bahia, Brazil; Museu De Arte Moderna Rio De Janeiro, Brazil; Istituto Cultural Itau Sao Paolo, Brazil (catalogue)
[SOLD]
Kinderstern Portfolio
Haring’s untitled work (“Cup Man” ) was one of twenty-two works created by twenty-two artists included in the 1989 Kinderstern Portfolio. The Portfolio was created in an edition of 100. Each artist received one complete portfolio and thirty artist proofs of their individual work. The artists included in Kinderstern are: Elvira Bach, Werner Berges, Max Bill, Erik Bulatov, Christo, Piero Dorazio, Richard Estates, Carolos A. Garcia, Gothhard Graubner, Keith Haring, Jörg Immendorf, Imi Knoebel, Jean Le Cac, Sol LeWitt, George Litchevskiy, Heinz Mach, Sigmar Polke, Dimitrij Prigov, Pierre Soulsanges, Günther Uecker, Tomi Ungerer, and Raymond E Waydelier.
Kinderstern was published by Michael Domberger (Domberger KG, Filderstadt, Germany) and printed by Domberger Siebdruck Printstudio.
Haring’s work depicts a figure whose splitting torso morphs into individual bodies, reminiscent of matryoshka dolls. Haring also uses a radiant color pallet to emulate the bright colors and intricate patterns often associated with the dolls.
Fake works depicting Haring’s Untitled from Kinderstern abound. Long-Sharp Gallery has a (defaced) example of one such forged work in its archives. Since the Keith Haring Foundation no longer authenticates Haring’s works, this forged example is available for examination and comparison.
Other works in the Kinderstern Portfolio
Imi Knoebel Heinz Mack Dmitrij Prigov Max Bill
Georgy Litichevskiy
Günther Uecker
Werner Berges Christo
Erik Bulatov Pierre Soulages
Raymond E. Waydelich Sigmar Polke
Sol LeWitt Tomi Ungerer
Richard Estes
Elvira Bach
Carlos A. Garcia Jean Le Gac Piero Doraxzio
Gotthard Graubner Jörg Immendorff
Untitled (“Cup Man”)
Year: 1989
Medium: Color silkscreen
Size: 30 x 20.75 in (76.2 x 52.7 cm)
Frame Size: 34.875 x 27.75 in (88.6 x 70.5 cm)
Edition: Edition of 100, 30 AP, this is example 2/100
Printer: Domberger Siebdruck Printstudio
Publisher: Michael Domberger (Domberger KG, Filderstadt, Germany)
Notes: The Kinderstern Portfolio, including Untitled by Keith Haring; Untitled by Keith Haring framed, all other works in the portfolio unframed
Provenance:
The collection of the printer Long-Sharp Gallery
Condition: Original (excellent)
First framed: 2022 in preparation for Masterpiece London 2022, Archival Protections + Optium Plexi
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Photographs of the artists to be exhibited alongside works by Keith Haring
Haring & Model Year: 1984
Medium: Unique polaroid print
Size: 3.375 x 4.25 in (8.6 x 10.8 cm)
Frame size: 9.25 x 11.25 in (23.5 x 28.6 cm)
Reference: Complete Commissioned Magazine Works page 366 (citation to come)[TBD]
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FA12.00820, on verso)
Kenny Scharf, Keith Haring and Friend Year: Circa 1984
Medium: Unique gelatin silver print
Size: 8 x 10 in (20.3 x 25.4 cm)
Frame size: 16 x 17.5 in (40.6 x 44.4 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FL08.01111, on verso)
Keith Haring and Pug Year: 1984
Medium: Unique gelatin silver print Size: 10 x 8 in (25.4 x 20.3 cm)
Frame size: 17.5 x 16 in (44.4 x 40.6 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, FL05.02057 , on verso)
JULIAN OPIE
(British, b. 1958)
British-born Julian Opie earned his BA from Goldsmiths College of Art (1982) within an atmosphere that encouraged freedom of thought and innovation. In that environment, Opie and his peers began creating figurative works, in contrast to (or reaction against) the prevailing movement of abstraction that had reigned supreme for decades prior. Against this backdrop, Opie developed a distinctive style that combines his foundation in figurative art with his eye for minimalism.
In the early 1980s, Opie found himself fascinated with the work of Michael Craig-Martin, a London-based Pop artist who taught Opie at Goldsmiths. Craig-Martin’s object drawings rejected the geometry of Minimalism as irrelevant; everyday items—books, chairs, tables—were the primary forms of modern life.
Like Craig-Martin, Opie was “miming the everyday,” abstracting a language of generic representation from the repetitious world of news images and mass-made items. Craig-Martin respected Opie’s similar, if very differently executed, vision. Soon after Opie graduated, Craig Martin showed Opie’s work to Nicholas Logsdail, director of the Lisson Gallery. Within a year of graduating, Opie had a solo show at the gallery.
In 1985, he had a second solo show at the Lisson Gallery and another at the Institute of Contemporary Arts in London. Opie’s works evolved through the years; he added pop culture references and newspaper headlines in the late 1980s and even experimented with light installations. By the 1990s, he became interested in the “spatial distortion and architectural simplicity” found in some Renaissance works and Japanese prints.
These interests led him to the distilled techniques and styles that would become his signatures in the 2000s: linear figures, simple color schemes, and a sense of walking (especially through an urban landscape). Each of these is a tenet of the Julian Opie emblem: his “graphic outline portraits.” These figures transcend mediums, from painting to sculpture to lenticular.
Opie’s works are found in public and private collections across the globe, including MoMA (New York), Tate, the Israel Museum (Jerusalem), the Takamatsu City Museum of Art (Japan), and The British Museum. The artist lives and works in London.
Running People
Year: 2020
Medium: A series of 12 anodized aluminum figures on Corian bases Each signed in black ink on a label printed with edition 5/20, artwork and gallery details, affixed to the base
From the edition of 20, this is a match numbered (5/20) set
Amelia.: 22.375 x 3.5 x 6.25 in (56.8 x 9.0 x 15.8 cm)
Amelia.: 22.875 x 3.5 x 6.875 in (57.9 x 9.0 x 17.3 cm)
Amy.: 22.5 x 3.5 x 6.625 in (57.1 x 9 x 16.9 cm)
Clive.: 23.25 x 3.5 x 6.625 in (58.9 x 9.0 x 16.8 cm)
Elena.: 22.75 x 3.5 x 6.125 in (57.8 x 9 x 15.7 cm)
Elvis.: 23.125 x 3.5 x 5.5 in (58.8 x 9 x 14 cm)
Mark.: 23 x 3.5 x 6.875 in (58.4 x 9.0 x 17.4 cm)
Paul.: 22.375 x 3.5 x 6.75 in (56.8 x 9.0 x 17.1 cm)
Sonia.: 22.375 x 3.5 x 7.375 in (57.0 x 9.0 x 18.6 cm)
Teresa.: 21.125 x 3.5 x 5.375 in (53.8 x 9 x 13.5 cm)
Tim.: 22.625 x 3.5 x 6.25 in (57.5 x 9.0 x 15.9 cm)
Yasmin.: 22.5 x 3.5 x 5.375 in (57.1 x 9.0 x 13.7 cm)
Provenance:
Cristea Roberts Gallery (London)
Jonathan Novak Contemporary Art (Los Angeles)
Long-Sharp Gallery (Indianapolis)
[SOLD]
DAVID SPILLER (1942-2018)
A veteran of the British Pop Art movement, David Spiller grew up in its defining period. Juxtaposing pop culture with urban sensibilities, Spiller created his own unique style of fine art that is distinctly “David Spiller.” As Martin Gayford wrote in his catalogue essay for Spiller’s 2008 exhibition at Beaux Arts London:
David Spiller’s pictures are much more than simply messages. A lot of them are also, an art historian might say, complex colour-field abstractions. […] To make works of this type, Spiller uses a technique that is, as far as I know, unique. He ‘floats’ the pigment onto pieces of canvas that he then sews together with incredible neatness and precision, so the final work is a sort of combine, made not with glue, like a collage, but with needle and thread. […] no one has ever, as far as I know, fitted geometrically precise square and oblongs of colour together in this fashion, like a precision-engineered quilt...
David Spiller’s place as an acclaimed artist was not achieved by happenstance. Spiller was trained in fine art and an early student of Frank Auerbach. He studied at the Sidcup School of Art (1957), Beckenham School of Art (1958-1962), and the Slade School of Art (1962-1965). During his distinguished career, Spiller had solo exhibits in over 10 countries (Austria, Belgium, Denmark, England, France, Germany, Holland, Italy, Spain and the United States). His work was exhibited at notable institutions such as the Rattingen Museum and Mannheim Kunstverein (Germany), Museum Van Bommel van Dam and Museum Utrecht (Holland), Museum Espace Belleville and Artcurial (Paris), the Royal West of England Academy (UK), and the Cornell Museum (Florida, US). His work is also in important public and corporate collections which include Hanwon Museum (Seoul), Foundation Carmignac Gestion (Paris), Harley Gallery Welbeck, Collection UCL, Morgan Stanley (Frankfort), and Belgacom Brussels. Important private collections also contain works by the artist; some are available on request.
When asked about his art, Spiller has said “I really want to make paintings that put some magic on the wall. Some of them are straightforward things. Some are wild things. But underneath, it says ‘I love you.’”
I’d Walk a Million Miles for One of Your Smiles Year: 2015
Medium: Acrylic and pencil on stitched canvas panels
Titled, hand signed and dated on verso
Size: 33.875 x 35.5 in (86 x 90 cm)
Frame size: 35.25 x 36.75 in (89.5 x 93.3 cm)
Provenance: The artist’s estate Long-Sharp Gallery [SOLD]
About this work: Spiller often mentioned that, like a movie director, he wanted to be free to “do” what he wanted -- not to be typecast, but able to use different genres: a western, a comedy, a cartoon, a musical. These seminal late works were Spiller’s love stories. In In My Heart, he ‘neurosurgically’ sewed together raw canvas panels containing faint dots blotted from earlier paintings. These time-capsule swatches combine with the bold, hardhitting black text, overlaid with fresh painted geometric dots and squares to add order and color. The final stage of the process was to write the things he wanted to say, heartfelt lyrics such as, ‘I will keep you from the dark’, ‘Take a walk on the wild side,’ and ‘Peace’. This painting is shouting his message out and conveying the urgency he sensed, ‘One love… One life’… from the U2 song.
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In My Heart Year: 2016
Medium: Acrylic and pencil on stitched canvas panels Hand signed on verso
Size: 28.5 x 27.5 in (72 x 70 cm)
Frame size: 29 x 29 in (73.6 x 73.6 cm)
Provenance: The artist’s estate Long-Sharp Gallery
Born to run
Year: 2015
Medium: Acrylic and pencil on stitched canvas panels
Hand signed on verso
Size: 33.8 x 35.8 in (86 x 91 cm)
Frame size: 29 x 29 in (73.6 x 73.6 cm)
Provenance:
The artist’s estate
Long-Sharp Gallery
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SPILLER + CAMERON
(British, b. 1991 and 1962, respectively)
During a period of time spent caring for Moira’s husband when he was ill, Spiller + Cameron began to work ever more closely. Spending time in his deserted studios, the environment filled with emotions and strange discarded objects, they used the abandoned detritus to fuel their imaginations. Like archaeologists and treasure hunters forensically collating the resident ephemera that held poetic potency and ghost traces, they focused on regeneration and reincarnation, challenging perceptions of perceived beauty by demonstrating aesthetic merit in junk.
According to Xavier: “The idea originated when we began working in my late father’s studio, where we would find things that were never deemed art before, objects seen as just a byproduct of the creative process. A box of old rags was among the first things we discovered. Used to clean brushes and spills, the rags had been stored in a box for over 20 years and slowly amassed into a vast collection. Discovering this grungy box of crumpled, congealed, and completely disheveled linen brought back my childhood memories of fossil hunting in Folkestone - the feeling of ‘hunting’ for the best specimens, having to scrub and clean to unearth an ammonite.”
The Genesis works are made from salvaged artist paint rags, torn up sheets, and pillowcases used for many years and harvested in a state of decay. The notion of preserving something previously overlooked appealed to the artists – the idea of incorporating a new material and source not seen before in painting. The delicate cotton cloth retained accidental marks and traces that would be impossible on more robust materials.
The rags have undergone a washing process to flatten them. They have been primed, ironed, and meticulously stitched together, always into a 9-panel construction. Xavier has been compulsively drawn to the number 9 since childhood – a number representative for love, completeness, enlightenment, and propensity to convey messages.
About the Angel/Heads series: Spiller + Cameron consider their “Angel/Heads” to be guardians, abstracted faces representing deities or mythological being who watch over those in their purview. Each work from this series is dedicated to one such being.
About the god, Jupiter: Military commanders would often pay homage to Jupiter, a god whose name was synonymous with protection, alliances, and treaties. Similar to Zeus’s role among Grecians, Jupiter was the preeminent deity of Rome.
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Jupiter Year: 2023
Medium: Mixed media
Hand signed and dated on verso Size: 74.75 x 56.25 in (189.8 x 142.8 cm)
Provenance: The artist’s studio Long-Sharp Gallery
JASON MYERS
(American, b. 1972)
Jason Myers is a prolific multi-disciplinary artist with a breadth of experience working with different media. Over the years, his artistic practice has consistently evolved in both style and technique. His recent body of work is primarily figurative and includes paintings, drawings, prints, digitally manipulated images, and large-scale sculpture and installations.
Myers utilizes a unique combination of traditional artistic and industrial raw materials such as steel, resin, and computer-generated prints. Complex, layered, and exquisitely executed, Myers’s work often questions our current political and socioeconomic environment, reflecting on themes of technology, alienation, greed, wealth, and power.
Myers received his bachelor’s degree from the Kansas City Art Institute (Kansas City, MO) and his MFA from American University (Washington, DC). Forgoing the “typical” trajectory perhaps expected from modern-day artists (a New York studio, numerous assistants), Myers instead opts to work more solitarily from his studios in Indiana and the Netherlands.
With works exhibited across the United States and abroad, Myers’s acclaim has grown in recent years. His solo museum exhibit, STATUS: fluid/dynamic has traveled to both the Polk Museum of Art (Florida) and the Art Museum of Greater Lafayette (Indiana); a solo exhibition in the Lambla Gallery at the University of North Carolina (Charlotte). Myers’s monumental (60-foot tall, 38-ton) steel sculpture, “Trials of Gavin”, was commissioned for the Lowlands Music Festival (Netherlands) and currently towers over the train station in Zwolle, Netherlands. His works are in the permanent collections of several museums, including the Indianapolis Museum of Art (Indiana). In addition, individual works have been featured in museum exhibitions at the Mint Museum of Art (North Carolina), Museum de Fundatie/Kasteel het Nijenhuis (Netherlands), and Cornell Art Museum (Florida).
Myers’ most recent series, Fragility: Embracing the Impermanence and Beauty of Life, debuted at Long-Sharp Gallery Indianapolis which ran concurrently with his third solo museum exhibition at UNC Charlotte, I Am Algorithm curated by Adam Justice, Director of Galleries at UNC Charlotte.
According to the artist: “The most interesting thing about life is that our mortality makes us ‘all in’. No matter what you do, you are not getting out alive. We should live every day of life to its fullest potential. Take risks, do things that scare you. Fragility is what makes us feel alive. In some ways, we absorb this fear, in other ways we perpetuate it. Embracing this state of fragility is healthy and truly living, rather than just existing.”
State of Fragility #31
Year: 2024
Medium: Mixed media and resin on canvas
Hand signed on verso
Size: 72 x 48 in (183 x 121.9 cm)
Provenance: The artist’s studio
Long-Sharp Gallery
CHA JONG RYE (Korean, b. 1968)
Born in Daejeon, Korea and the recipient of an MFA in Sculpture from Ewha Women’sUniversity in 1996, sculptor Cha Jong Rye (b. 1968) meticulously crafts works which havebeen featured in exhibits and collections worldwide. Among her solo exhibitions are showsat the Sungkok Art Museum (Seoul, 2011), the Nampo Art Museum (Goheung, 2012), RedSea Gallery (Singapore, 2015), Bauzium Sculpture Museum (Gosung, Gangwon-do, 2017),and The Center for Art in Wood (Philadelphia, 2018). Selected group exhibitions includethe Berkshire Museum (2015), the Nampo Art Museum (2014), and the Kim Chong YungMuseum (Seoul, 2017), among many others.
Using wood as her chosen medium, Jong Rye constructs seamlessly intricate woodenlandscapes through her often wall-mounted sculptures. Sanding and layering hundreds ofdelicate wood boards, her process is intentionally unintentional; rather than executing apredetermined design, she allows herself to discover images in the fluidity of arrangingand rearranging the uniquely hand-shaped blocks. The result is a richly textured three-dimensional canvas upon which light and shadow dance, transforming the once-recognizable wood material into entirely abstracted landscapes reminiscent of wrinkledlinen or rippling water.
Equally important to her own subjectivity in the creative process is the subjectivity of heraudience--the freedom of the viewer to interpret her work from a unique perspective. JongRye considers her work to rely on the interaction and communication between viewers andherself, and feels that a sculpture is most complete when a viewer interprets it in a waythat is unique from her own understanding. Cha Jong Rye currently works and resides justoutside of Seoul, South Korea.
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Expose Exposed 190508
Year: 2019
Medium: White birch plywood
Size: 63 x 30 x 8.25 in (160 x 75 x 21 cm)
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Expose Exposed 230627
Year: 2023
Medium: Fomax, mother-of-pearl
Size: 23.6 x 66.5 x 6.3 in (60 x 169 x 16 cm)
Expose Exposed 240108
Year: 2024
Medium: Fomax
Size: 22.875 x 26.125 x 6.75 in (58 x 66.5 x 17 cm)
Expose Exposed 240523
Year: 2024
Medium: Fomax
Size: 40.5 x 39.375 x 9 in (103 x 100 x 23 cm)
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Expose Exposed 240625
Year: 2024
Medium: Fomax
Size: 23.625 x 61.75 x 5.875 in (60 x 157 x 15 cm)
PATRICK HURST
(British, b. 1988)
Patrick Hurst works primarily with metals to create large- and small-scale sculpture. His visual identity revolves around the minimal language of abstraction with a strong connection to geometry.
As Hurst has observed, “there is a strong similarity between the creative mind of the artist and the engineer.” Throughout his practice, Hurst employs manual machining, computeraided design, and industrial manufacturing processes to transform the raw materials for his sculptures into highly-finished, tactile shapes. He is a skilled fabricator with a deep knowledge of and interest in material and process.
The artist applies mathematical laws when conceiving the shapes of his sculptures, and most of his work has a satisfactory sense of proportion derived from Euclidean geometry. He frequently uses mirror-polished surfaces to challenge viewers’ expectations of reality when they encounter their reflections in the artwork. Hurst’s sculptures are therefore informed both by the objective and the subjective realms: the first fueled by science and facts, the second by the emotional response of his audience.
Hurst’s artwork is in part a response to our divisive times. Through application of the universal languages of physics, geometry, and mathematics, Hurst seeks to create opportunities for shared understanding. As Cassie Beadle, curator at Cob Gallery, London, describes: “Hurst’s recent sculptural work seeks to condense and harness the complexities of ancient mathematics, human history, and its experience into pure form – Hurst urges us to question the universalities of human experience.”
Hurst graduated in 2011 from the Cardiff School of Art and Design in Wales, UK with a BA (Hons) Fine Art. After graduation, he returned to his native Cambridge and worked at Kettle’s Yard Gallery, home to an eclectic collection of 20th century British masters, before pursuing his passion for sculpture. His work has been shown at Masterpiece London and Eye of the Collector. The artist now lives and works in Italy.
According to the artist: “The concept of the work is similar to that of a Rorschach inkblot test. A single polyhedron is used like a pixel to assemble an intentionally undetermined and abstract form. It is then the perception of the whole that imbues meaning to the piece.
The work retains a visibly high standard of technical execution, yet has a more textured feel due to the visible welds and soft patina from the rusting steel.
The mirror polished base makes the piece feel as though it passes into the ground; this break in the line of the sculpture is reminiscent of the fold in Rorschach’s inkblot tests.”
Pixel 4.1 CT
Year: 2024
Medium: CorTen steel
From a unique series of 5 plus proofs; this is 1/5
Signature incised on base
Size: 40.9 x 23.6 x 24.4 in (104 x 60 x 62 cm)
Click to view a film
According to the artist: “The ‘helical coils’ are about resolution - multiple paths traveling apart, resolving together at the same point. Two mirror-polished faces start 180 degrees, symbolizing strong, clear opposing views; as they pass through time (the vertical axis), they coil around and meet together in resolution. The third satin-finished face symbolises the hazy ‘grey area’ between these two contrasting views; there is a hopeful rationale for meaningful dialogue and a coming together of opposite sides.”
Resolution (large)
Year: 2021
Medium: 316 stainless steel
Size: 72 x 16 x 16 in (183 x 40.6 x 40.6 cm)
From a series of 8, two in this size
About the Water Series: “Water is fundamental to humans; as a species, we are made of fifty to seventy-five percent water. The mirror-polished spheres that compose the works from Hurst’s Water Series suggest bubbles rising in water. In the contemporary world, where people increasingly are inwardly focused and strongly divided on many issues, the bubbles symbolize the elements of our shared humanity rising to the water’s surface. In this way, Hurst’s Water Series strives to represent the common ground in the human experience.
Works in the Water Series are inspired in part by a commencement address by author David Foster Wallace, “This Is Water” (later a published essay of the same name). In the speech, Wallace highlights the importance of choice in how we see and think about our world. He posits that “if you’ve really learned how to think, how to pay attention, then… it will be within your power to experience a crowded, hot, slow, consumer-hell-type situation as not only meaningful, but sacred, on fire with the same force that lit the stars.” That is, in confronting even the most mundane and frustrating parts of contemporary adult life, it is within our power to choose to see “the subsurface unity of all things.”
Hurst also finds inspiration for the Water Series in the disciplines of mathematics and astrophysics; in particular, a principle of quantum mechanics called “von Neumann entropy.” Expressed as a complex mathematical formula, the principle encapsulates the philosophical idea that, without knowing for certain, the unseen world can be more than one thing at the same time. However far-fetched the possibilities may seem, they are not impossible. Viewed through this lens, the “bubbles” in the Water Series represent events occurring within the “water” of our shared experience. They encourage viewers to see their world from new vantage points and, in doing so, to see the marvelous possibilities that exist all at once.”
Water VIII
Year: 2024
Medium: 316 Stainless steel on 316 Stainless steel base
From a unique series of 5 plus proofs; this is 2/5
Signature incised on base
Sculpture: 47 x 25 x 25 in (118 x 62 x 62 cm)
Base: 25 x 24 x 24 in (62 x 60 x 60 cm)
Total: 72 x 25 x 25 in (178 x 62 x 62 cm)
NICOLA ANTHONY
(British Anglo-Indian, b. 1984)
A sculptor based in the UK who has created public artworks around the world from Los Angeles to Singapore. Nicola was appointed as artist-in-residence for the UK Government in Dubai (2021-2022), and has shown work in museums internationally. One of her most noteworthy permanent sculptures was commissioned for Steven Spielberg’s USC Shoah Foundation, featuring the story of a Holocaust survivor (2018, Los Angeles).
Nicola is known for her signature metal text sculptures which tell powerful stories, connecting with history, people and places. (As featured in the New York Times, Architectural Record, Blouin Artinfo, BBC, among others). She gathers words, narratives and patterns in a variety of methods including collecting anonymous stories and confessions, inviting letters, sourcing big data from the depths of the web, and scouring traditional texts to find previously unknown subtexts.
Nicola says “I aim to give voice to important and often unspoken stories, revealing our inner worlds, exploring the tangled threads of history, roots, identity and universality which connect us all.”
Select public sculptures are in London (Embankment); National University of Ireland (commissioned by European city of culture 2020); Aspen, Colorado; USC Shoah Foundation (Los Angeles); Marina Bay (Singapore), Lim Chin Tsong Palace (Myanmar), and National Design Centre (Singapore).
Her artworld accolades include being shortlisted for the Sovereign Art Prize in 2020 for her artwork in Singapore, as well as the Sovereign Asian Art Prize in 2021 for her work on the subject of the migrant crisis. In 2019 whilst based in Dublin she received a ‘New Voices Of Ireland’ award. Nicola has recently had 3 works acquired by Ingram Collection of British Art and has been spotlighted by SmArtify as one of 50 noteworthy female artists.
Notable exhibitions include a solo exhibition at Singapore Art Museum (2017), and exhibited works at the Kuala Lumpur Biennale (2018).
Nicola is also a diversity champion, a trustee, poet and paper aeroplane collector. Fellow of the Royal Society of Arts, member of the Royal Society of Sculptors, alumni of Central St Martin’s (University of the Arts London) and Loughborough University.
About this series: This series of metal text sculptures is based on beliefs about luck across multiple cultures. The artist considers these artworks as amulets (defined as an object that is believed to possess magical or protective powers).
The artist wrote each text by researching folklore, stories and symbols about luck that are still present in modern society and can give us a fascinating insight into human nature - our fears, hopes and desires. The concepts contained have come from religions, myths, proverbs and superstitions. The artist has also woven in some of the concepts from mathematics, astronomy and science that guide our contemporary worldview.
Featured text: “The last letter in the Greek alphabet is shaped like a horseshoe. You feel malevolence evaporate in its presence. You hear it reverberate on the lips of yogis saluting the sun. Meanwhile, Nietzsche’s universe recurs in an infinite loop and physicists are busy measuring the density of all that exists. Whether we collapse or find our equilibrium with Ω, in the end, its cosmic significance will complete you.”
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Omega-Om
Year: 2023
Medium: Stainless steel
Size: 39.3 x 39.3 x 29 in (100 x 100 x 75 cm)
From a unique series of 3 + 1AP
From the artist’s studio to Long-Sharp Gallery
JULIA IBBNI
(Jordanian & British, b. 1980)
Julia Ibbini is a visual artist and designer with a background in graphics and collage. She earned a BA (Hons) in Visual Communications from the Leeds University College of Art and Design, UK. Her work combines digital design processes and traditional craftsmanship to create highly detailed, visually complex, and delicate pieces that intersect contemporary design, art, and craft.
Studio Ibbini is an ongoing collaboration between Ibbini and Stephane Noyer, a computer scientist and maker with an interest in computational geometry. Ibbini and Noyer have worked on projects together since 2016, traversing analog and digital to create works of extreme intricacy and machined precision, but which remain distinctly human in origin. Studio Ibbini works predominantly with materials such as archival paper, veneer woods, or mother of pearl—selected for their delicate, tactile qualities—that are then layered and meshed together using a complex collaging method. Individual projects take up to a year to complete.
In 2019, Studio Ibbini received the prestigious Van Cleef & Arpels Middle East Designer Prize. Over the last few years, the work has been shown at Sharjah Islamic Arts Festival 2018, Art Basel Miami, LA Art Fair, Tashkeel Dubai and Jeddah 21,39 - 2020.
Studio Ibbini is based in Abu Dhabi in the United Arab Emirates.
According to the artist: “Ornamental Mixtapes is a series of works inspired by repeating ornamental motifs drawn from antique Persian carpets. I imagined the delicate tendrils of flowers and leaves growing outward, breaking away from the symmetry toward a more organic form. The pieces are hand drawn then algorithmically processed. They are cut, layer by layer, using a specialised laser machine with a single layer taking up to seven hours to cut. The cut paper layers are finished by hand and glued in a delicate collaging technique so that, when assembled, the many motifs and tendrils appear almost carved.”
Ornamental Mixtapes v6.5
Medium: Layered papers with mother of pearl inlay, ink on acrylic
Hand signed
Year: 2024
Size: 22 x 15.75 in (56 x 40 cm)
Frame size: 23.5 x 17.25 in (59.7 x 43.8 cm)
According to the artist: “Combining algorithmic concepts and techniques with what could be considered very traditional motifs is always fascinating for me. The initial (handmade) drawings for these works are turned into computational tree structures on which graph theory algorithms are applied. (Graph theory is used in everything from maps to biology applications.) From there, it’s a back and forth between myself and the algorithms. While it’s ultimately me that determines how and where the piece should ‘fade’ through the layers of paper, there are dozens of iterations required in order to make it flow perfectly.
Some of the patterning used in these pieces is very ancient (early 9th century) and I felt it was important to record it by using it within my pieces in the hope that the ‘language’ as such will continue to live on and evolve.”
The Sands of Time 7.0
Medium: Layered papers
Hand signed
Year: 2024
Size: 22 x 13.375 in (55.9 x 34 cm)
Frame size: 26 x 17 in (66 x 43.2 cm)
Click to view a film
According to the artist: : “I wanted to explore the notion of a traditional vessel (typically intended to be utilitarian and simple) and augment and contrast that by introducing abstract structural modifications, complexity, and detail achievable through algorithms and computational geometry. I also sought to push the boundaries of possibilities in terms of medium and chose to experiment in paper due to its beautiful, tactile, delicate qualities.
The build process for the vessels revolves around both a sequential back-and-forth and an interactive collaboration between human and machines.”
Symbio Vessel 195.16.25243
Year: 2024
Medium: Layered papers and card
Hand signed
Size: 7.09 (diameter) x 4.33 in (height) in (18 x 11 cm)
* [SOLD] Please inquire for available commissions
According to the artist: : “I wanted to explore the notion of a traditional vessel (typically intended to be utilitarian and simple) and augment and contrast that by introducing abstract structural modifications, complexity, and detail achievable through algorithms and computational geometry. I also sought to push the boundaries of possibilities in terms of medium and chose to experiment in paper due to its beautiful, tactile, delicate qualities.
The build process for the vessels revolves around both a sequential back-and-forth and an interactive collaboration between human and machines.”
Symbio Vessel 159.15.31274
Year: 2024
Medium: Layered papers and card
Hand signed
Size: 6.75 (diameter) x 6.25 (height) in (17 x 16 cm)
* [SOLD] Please inquire for available commissions
OLIVER MARSDEN
(British, b. 1973)
Oliver Marsden is a British painter whose work seeks to represent the invisible, natural, and physical forces of sound, motion, energy, and gravity. He plays with viewer’s perceptions of color, form, light, and space. His canvasses are imbued with a seductive resonant visual tension, that captures and holds the viewers’ gaze perfectly still while resonating a harmonious energy.
Marsden was born in Reading, UK and studied at Edinburgh College of Art in the mid-nineties. It was here that he began exploring notions of “liquid reality”. Inspired by nature, biological structures, Morphogenesis, David Bohms’ “Implicate order”, Eastern philosophies, and contemporary music, his work achieved a psychedelic minimalism.
After art school, he lived in Miami and New Zealand before returning to Gloucestershire. Damien Hirst noted about Marsden, “Olly Marsden picks up the challenge and makes a kind of science of painting and creates pictures that have nothing to do with Richter or Poons or Bridget Riley or Albers or even Op. They’re about the urge or the need to be a painter above and beyond the object of a painting. They are like sculptures of paintings.”
Marsden’s works can be found in private and public collections, including: Jumex collection, Mexico; David Roberts Foundation, London; Horiuchi Collection, Japan; Kresge Art Museum, Michigan; Murderme Collection, London; Robert Devereux Collection, UK; Royal Bank of Scotland; St James Group, London; and The Weisman Art Foundation, Los Angeles.
According to the artist: “In college I worked from the model, life drawing, life painting. Paintings of figures suspended in space evolved into paintings of form and space. I was splashing, pouring, dripping, splodging paint, working to create natural organic environments. I juxtaposed these with mechanical machine parts and metallic circuit boards. One day I painted a small Buddha floating cross legged in the centre of a canvas; the next day I over painted with a circle. I stopped painting machine parts and focussed on simple geometric and natural forms.
After college in 2003 my studio was based in 11A, a multicultural arts and music recording studio in Gloucester city centre. I had recently purchased my first computer, digital camera and was playing with 3D modeling programs and airbrushing “liquid metal” planes. But the computer model paintings were taking a long time and I had a show a fast-approaching.
Loud guitars from the recording booth below vibrated old wooden floorboards which in turn rippled water in a bucket… I watched and imagined paintings of giant liquid speakers. I ordered two stretcher frames for the largest ‘widescreen’ canvasses that I could fit in and out of my studio and spent a week photographing ripples in the bucket. I started airbrushing a dark circular point with ripples emanating from the centre, but the format felt weak on the wide stretcher. I airbrushed for a couple of weeks and slowly evolved the composition to an oval format that worked with the dimensions of the canvas and simplified the ripples to a single glowing line. I had found my format for the show.
While painting these ‘Focus’ paintings, I wondered about spinning the canvas (instead of me dancing and swinging my arms around). My father found an office chair in a charity store; I broke off the seat, bolted the base to the wall, attached a canvas and set it spinning. At first, I experimented with pullies and weights, but quickly moved to an electric motor and started spinning at speed. The oval ‘Focus’ paintings evolved into circular colour ‘Node’ paintings and ‘Ohm’ Halo paintings.
In Autumn 2004 I moved from 11A to a quiet farm studio next to Splatt bridge on the Gloucester & Sharpness canal. I was training for a half marathon and spent hours running along the canal watching light play on the water, evening mists and sunsets. I love the restless expressive nature of water and how it makes energies visible. I worked to capture the visual tension between the light reflecting on the surface and the depths below. Over a two-year period I swapped airbrush and acrylics for oil paint and hog bristle brushes, and created the Harmonic paintings exhibited in ‘Visual Harmonics’ at the Fine Art Society, London 2007.”
Ultra Violet Blue Prussian Harmonic Medium: Oil on canvas
Year: 2020
Size: 39.3 x 39.3 x 1.7 in (100 x 100 x 4.5 cm)
[SOLD]
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Image courtesy of ArtConnect
DANIEL MULLEN (Scottish, b. 1985)
Rotterdam-based painter Daniel Mullen was born in Glasgow, Scotland in 1985.
Mullen’s works question sensory perception, including light, darkness, form, and color.
Acknowledging that we subsist in an era of mass digitization, his works also explore how our visual and emotional sensitivities might be shifting as we flow between our physical environment and the techno-sphere, aided in part by back-lit digital devices.
With his work, Mullen aims to question these shifting modes of perception through dialectical compositions, expressions of color, light, and darkness. His paintings may appear as digital renderings; however, upon closer inspection, his paintings reveal the materiality by which they are constructed. These works are evidence of time-consuming craftsmanship that does not seek binary perfection, but rather embraces nuance, imperfection, and materiality.
About these works: Daniel Mullen creates optically dazzling works using a process that includes the application of thin, translucent layers of paint on exposed linen. He uses painting as a meditative process of repetitive movement and rhythm, with the brush working as an extension of his person.
According to the artist: “In my work, I’m interested in phenomenology: to perceive something that is not present or at least that which seems undefinable, a space out of reach beyond our perception. Through the act of painting, I try to channel this experience for another viewer beyond my own mind’s eye by seeking to render colour, form and light perceivable.”
colour interaction No. 1
Year: 2023
Medium: Acrylic on linen
Size: 35.5 x 39.5 in (90 x 100 cm)
Provenance: The Artist’s studio Long-Sharp Gallery
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About these works: Daniel Mullen creates optically dazzling works using a process that includes the application of thin, translucent layers of paint on exposed linen. He uses painting as a meditative process of repetitive movement and rhythm, with the brush working as an extension of his person.
According to the artist: “In my work, I’m interested in phenomenology: to perceive something that is not present or at least that which seems undefinable, a space out of reach beyond our perception. Through the act of painting, I try to channel this experience for another viewer beyond my own mind’s eye by seeking to render colour, form and light perceivable.”
colour interaction No. 15
Year: 2023
Medium: Acrylic on linen
Size: 35.5 x 39.5 in (90 x 100 cm)
Provenance: The Artist’s studio Long-Sharp Gallery
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TARIK CURRIMBHOY
(b. 1954)
Classically trained in the arts, industrial design, and architecture, Tarik Currimbhoy is a trifecta of artistic prowess. Having earned a Bachelor of Fine Arts and a Master of Architecture from the Pratt Institute, as well as a Master of Arts from Cornell University, Tarik later went on to teach at both institutions (Drawing at Cornell and Design at Pratt).
In both architecture and sculpture, Tarik searches for tranquility, simplicity and tactility, expressed in purity of both form and material. Inspired by ancient architecture of building blocks resting on each other in tension and compression, Tarik’s sculptures are “stories of structure and gravity”, held together under compression in stone and metal.
Tarik has mastered the juxtaposition of the old and the new, using handcrafting and ancient casting techniques to create sculptures that are modern and minimal in form. His design work has been published internationally and his sculptures may be found across the world in public spaces as well as corporate and private collections.
Reflections (small and large)
Medium: 316 Stainless steel
Stamped with artist’s initials and edition number on side
From the edition of 30 plus proofs
Size: 9” in diameter and 12” in diameter, respectively
Provenance:
The artist’s studio
Long-Sharp Gallery
The Eye
Medium: 316 Stainless steel
Stamped with artist’s initials and edition number on side
From the edition of 11 plus proofs
Size: 12” in diameter
Provenance:
The artist’s studio Long-Sharp Gallery
Diya Year: 2024
Medium: 316 Stainless steel
Stamped with artist’s initials and edition number on side
From the edition of 7 plus proofs
Size: 18 x 8 x 2.5 in (45.7 x 20.3 x 6.3 cm)
Provenance: The artist’s studio Long-Sharp Gallery
Pendulum Year: 2024
Medium: 316 Stainless steel
Stamped with artist’s initials and edition number on side
From the edition of 11 plus proofs
Size: 10 x 5.375 x 1.25 in (25.4 x 13.65 x 3.175)
Provenance: The artist’s studio Long-Sharp Gallery
Phoenix Year: 2024
Medium: Stainless Steel with granite base
From the edition of 4 plus proofs
Size: 66 x 16 x 11 (167.6 x 40.6 x 27.9 cm)
Base: 12 x 12 x 12 (30.5 x 30.5 x 30.5 cm)
Provenance: The artist’s studio Long-Sharp Gallery
Other Works by Andy Warhol
About this work: Long-fascinated by the culture of the American West, Andy Warhol released a series of “Cowboys and Indians” prints – the portfolio was one of the last major series completed before Warhol’s death in 1987. Ten portraits were chosen for the series, including John Wayne, George Custer, Annie Oakley, and Apache leader Geronimo. A portrait of Sioux Chief Sitting Bull was also considered for the portfolio; it was ultimately replaced by another portrait and never published in the regular edition.
Sitting Bull
Year: 1986
Medium: Screenprint in colors on Lenox Museum Board
One of a small number of impressions
Size: 36 x 36 in (91.4 x 91.4 cm)
Frame size: 40.125 x 40.125 in (101.92 x 101.92 cm)
Reference: 8.875 x 11 in (22.5 x 27.9 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, UP 100.186, on verso)
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About this work: Andy Warhol’s work as a commercial illustrator ran the gamut – from illustrations of shoes for Glamour magazine to Christmas cards for Tiffany & Co. The latter was perfectly suited for Warhol, whose love for Christmas has become more and more understood in the last several years. Tiffany’s published Warhol’s Christmas cards from 1956 to 1962.
In 1957, Warhol created an illustration of an ornate gold Christmas tree to be featured in the December issue of Harper’s Bazaar. That Christmas tree also served as an announcement of Warhol’s exhibit at the Bodley Gallery in New York City, “A Show of Golden Pictures,” which took place from December 2-24, 1957.
Warhol introduced gold “leaf” into his works after his first trip abroad in 1956. According to Charles Lisanby, who went with Warhol on this trip, “the working of gold lacquer surfaces with black ornaments in Thailand inspired Warhol to choose this color combination for [gold works],” including A Gold Book, which Warhol published in 1957.1
1 Nina Schleif, “Clever Frivolity in Excelsis: Warhol’s Promotional Books,” in Reading Andy Warhol (Ostfildern: Hatje Cantz, 2013), 112.
Christmas Tree Year: Circa 1957
Medium: Offset lithograph printed in gold
Size: 12.75 x 19.5 in (32.4 x 49.5 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number on verso)
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About this work: From his proclamations at dinner parties, “Oh, I only eat candy,” to his “usual” Frozen Hot Chocolate drink at the New York City café Serendipity 3, Andy Warhol’s affinity for chocolate and sweets is legendary. Perhaps less known is that it appears to have been genetic: his mother, Julia Warhola, is quoted as being persuaded to marry Warhol’s father, Andrej, in part because he gave her candy.1]Her love for sweets was instilled in Warhol early and was perhaps subconsciously related tohis creativity; Warhol recounts childhood memories of receiving candy bars in exchange for every page completed in his coloring book.2 During his decades in New York, entries from his diary recount visiting several candy shops and chocolatiers, including one instance when he stopped into a candy shop intending to sell them advertising space in Interview magazine, but ended up “buying $200 worth of candy instead.”3
1 Wayne Koestenbaum, Andy Warhol: A Biography (New York: Open Road, 2001), 22, reprinted in New York Times, September 16, 2001, https://www.nytimes.com/2001/09/16/books/chapters/andy-warhol.html.
2 Ibid.
3 Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Warner Books, 1989), 156.
Pie Year: Circa 1953
Medium: Ink on paper
Size: 11 x 8.5 in (27.9 x 21.6 cm)
Frame size: 18 x 15.25 in (45.7 x 38.7 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, TOP 260.015, on verso)
Click to view a film
About this work: From his proclamations at dinner parties, “Oh, I only eat candy,” to his “usual” Frozen Hot Chocolate drink at the New York City café Serendipity 3, Andy Warhol’s affinity for chocolate and sweets is legendary. Perhaps less known is that it appears to have been genetic: his mother, Julia Warhola, is quoted as being persuaded to marry Warhol’s father, Andrej, in part because he gave her candy.1]Her love for sweets was instilled in Warhol early and was perhaps subconsciously related tohis creativity; Warhol recounts childhood memories of receiving candy bars in exchange for every page completed in his coloring book.2 During his decades in New York, entries from his diary recount visiting several candy shops and chocolatiers, including one instance when he stopped into a candy shop intending to sell them advertising space in Interview magazine, but ended up “buying $200 worth of candy instead.”3
1 Wayne Koestenbaum, Andy Warhol: A Biography (New York: Open Road, 2001), 22, reprinted in New York Times, September 16, 2001, https://www.nytimes.com/2001/09/16/books/chapters/andy-warhol.html.
2 Ibid.
3 Andy Warhol, The Andy Warhol Diaries, ed. Pat Hackett (New York: Warner Books, 1989), 156.
Cake Year: Circa 1956
Medium: Ink on paper
Size: 23.875 x 17.875 in (60.6 x 45.4 cm)
Frame size: 33.75 x 23.25 in (85.7 x 59.1 cm)
Provenance:
From the Estate of Andy Warhol (stamp on verso) to the Andy Warhol Foundation for the Visual Arts to Long-Sharp Gallery
Authenticated by the Warhol Foundation (stamp and archive number, ARD 414.015, on verso)
[SOLD]
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Surprises you might find in the closet
MEL BOCHNER
(American, b. 1940)
Mel Bochner received his BFA (1962) and honorary Doctor of Fine Arts (2005) from Carnegie Mellon University. He is recognized as one of the leading figures in the development of Conceptual art in New York in the 1960s and 1970s. Emerging at a time when painting was increasingly discussed as outmoded, Bochner became part of a new generation of artists including Eva Hesse, Donald Judd, and Robert Smithson - artists, who, like Bochner were looking at ways of breaking with Abstract Expressionism and traditional compositional devices. His pioneering introduction of the use of language in the visual led Harvard University art historian Benjamin Buchloh to describe his 1966 Working Drawings as “probably the first truly conceptual exhibition”.
Bochner came of age during the second half of the 1960s - a moment of radical change, both in society at large as well as in art. While painting slowly lost its preeminent position in modern art, language moved from talking about art to becoming part of art itself. Bochner has consistently probed the conventions of both painting and of language, the way we construct and understand them, and the way they relate to one another to make us more attentive to the unspoken codes that underpin our engagement with the world. [Excerpted from Mel Bochner / If The Color Changes]
Mel Bochner’s work is held in the permanent collection of museums including Museum of Modern Art, New York; Whitney Museum of American Art, New York; National Gallery of Art, Washington D.C.; Centre Georges Pompidou, Paris; Tate, London. He has created works with Two Palms since 1997.
Crazy Year: 2024
Medium: Monoprint in oil with collage, engraving, and embossment on handmade paper
Size: 29.75 x 22.25 in (75.6 x 56.5 cm)
Frame size: 32 x 24.25 in (81.2 x 61.5 cm)
Provenance: From the printer, Two Palms, to Long-Sharp Gallery
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