Palm Beach Modern + Contemporary 2024 | An e-catalog

Palm Beach Modern + Contemporary

Cover Image(s): Right On © Mel Bochner, 2023 [catalogued on p. 33]

Long-Sharp Gallery Highlights

Palm Beach Modern + Contemporary

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ANDY WARHOL (American, 1928-1987)

Widely considered as one of the most influential artists of the twentieth century, Andy Warhol (1928-1987) is celebrated for his signature depictions surrounding daily objects of mass production. Identified as the first artist to convey the influence of mass media culture on the American life, Warhol created his most prolific works in the 1960s, when the US was quickly becoming a culture built upon television and mass consumerism. Consequently surrounded by a fascination with impactful and lasting images, audiences soon began to reject typical print media to embrace Warhol’s representation of media and commercialism. Throughout his successful career and numerous iconic collaborations, Warhol continued to firmly establish his patented impact of imagery on the development of our environment and identity. His beloved Campbell’s Soup cans and Coke bottles, as well as his silkscreen prints of famous personalities such as Marilyn Monroe and Elvis Presley are still widely celebrated today. Simply, Warhol is regarded as the King of Pop Art. His influence went beyond painting and printmaking.

Warhol founded The Factory in 1962, as a result of his interest in the mass production of his own works. In addition to serving as an industrial setting for his employees to extensively produce the artists’ prints and posters, The Factory also functioned as a performance venue for the Velvet Underground, and a filmmaking studio for his experimental films.

Born “Andy Warhola” in 1928 to Slovak immigrants, Warhol displayed an early talent for drawing and painting. Following high school, he enrolled in Pittsburgh’s Carnegie Institute of Technology, where he studied commercial art. After graduating in 1949, Warhol moved to New York to work as an illustrator for various magazines, such as Vogue and Harper’s Bazaar. He soon became one of New York’s most sought after and successful illustrators, and in 1952, he held his first oneman exhibition at New York’s Hugo Gallery. Warhol quickly became one of the most celebrated commercial artists in New York. His works were featured in every important magazine from Vogue to Harper’s Bazaar. The 1950’s also marked his most prolific period for his illustrating and publishing books – during this period he would go on to publish eight books.

In July of 1968, Warhol narrowly survived an attempt on his life by Valerie Solanis. Solanis, who had worked at The Factory occasionally, shot Warhol multiple times in the chest, proclaiming upon her arrest that he “had too much control over my life.” Throughout the 1970s, Warhol continued to produce art, as well as to expand his entrepreneurial interests through such ventures as founding Interview magazine as well as the opening of a successful nightclub. Warhol died tragically in February 1987 from complications following a gall bladder operation.

Andy Warhol : Monochrome

Cosmos Year: Circa 1984

Medium: Synthetic polymer on paper

Size: 23.5 x 31.625 in (59.7 x 80.3 cm)

Frame size: 30.5 x 38.875 in (77.4 x 97.4 cm)

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, TOP 101.013, on verso).

42,000 USD

Andy Warhol + Fashion: Upon graduating from Carnegie Tech (now Carnegie Mellon) with a degree in Pictorial Design, Andy Warhol moved to New York in 1949 to become a commercial illustrator. He was quickly hired on by the likes of Glamour, Vogue, and Harper’s Bazaar magazines. According to Simon Doonan’s foreword in Andy Warhol: Fashion: “From his whimsical line drawings of cats to sleek renderings of ladies’ shoes, Warhol’s work became a hit in the fashion publishing world. Warhol sketched hundreds of drawings of shoes, handbags, jewelry, and gloves.”[1]

Warhol’s interest in fashion, however, was not limited to commercial illustrations and advertisements. Over the decades, Warhol would befriend, collaborate with, and create portraits of designers including Halston, Yves Saint Laurent, and Diane von Furstenberg. Models, especially in the 1960s, were a new kind of celebrity, and Warhol capitalized on this notoriety. He is recognized as one of the first artists to print his work onto clothing and sell it exclusively to high profile clientele. At one time, Warhol himself could be booked as a model through the Zoli and Ford Models agencies. As to the importance of fashion during his time, Warhol captured it best: “Fashion wasn’t what you wore someplace anymore; it was the whole reason for going.”

[1] Simon Doonan, Andy Warhol: Fashion (San Francisco: Chronicle Books, 2004), 7.

Additional information about Paola Dominguin: Paola Dominguin grew up in a family of creatives. Her father was a renowned Spanish bullfighter, her mother an Italian actress, and her brother, Miguel Bosé, a famous musician. (Warhol created the cover art for one of Bosé’s albums in 1983.)

Dominguin was a model in New York in the 1980s and walked in Carolina Herrera’s first show as a fashion designer. Herrera, adored by Warhol, presented her collection on April 27, 1981, at the Metropolitan Club in New York.[1] It was the first time the venue had permitted a fashion show within its walls.[2] The debut was attended by Warhol, Paloma Picasso, Diana Vreeland, and Bianca Jagger.[3] American fashion giant Bill Blass helped Herrera book the group of models that included Dominguin. Later, Warhol took polaroid photographs of the model in addition to sketches like the one shown here.

[1] Alexander Fury, “Carolina Herrera’s Very First Show — and What It Meant for Fashion,” The New York Times Style Magazine, April 16, 2018, https://www.nytimes.com/2018/04/16/t-magazine/fashion-1980s-carolina-herrera.html

[2] Ibid.

[3] Ibid.

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).

250,000 USD (as a set of 5)

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).

250,000 USD (as a set of 5)

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).

250,000 USD (as a set of 5)

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).

250,000 USD (as a set of 5)

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).

250,000 USD (as a set 5)

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).

10,000 USD

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).

10,000 USD

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).

10,000 USD

About this work: While Warhol established himself early on as a commercial illustrator, he declared in 1963 that he wanted to be a painter as well. This lasted until 1965, when he “retired” fro painting to move on to film and other media. He returned to painting by hand in the 1980s, a decision impacted in part by his collaborations with Jean-Michel Basquiat and Francesco Clemente. It was during the 1980s that Warhol created many of his “black and white” paintings, based on 1950s and 1960s advertisements that Warhol is said to have kept in his scrapbook since that time. Topics of these paintings included Missile Maps, Work Boots, Self-Defense, and Key Service

Key Service

Year: 1985-1986

Medium: Synthetic polymer and silkscreen inks on canvas

Size: 20 x 16 in (50.8 x 40.6 cm)

Frame size: 25.5 x 21.5 in (64.8 x 54.6 cm)

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, PA 10.068, on verso).

140,000 USD

About this work: While Warhol established himself early on as a commercial illustrator, he declared in 1963 that he wanted to be a painter as well. This lasted until 1965, when he “retired” from painting to move on to film and other media. He returned to painting by hand in the 1980s, a decision impacted in part by his collaborations with Jean-Michel Basquiat and Francesco Clemente. It was during the 1980s that Warhol created many of his “black and white” paintings, based on 1950s and 1960s advertisements that Warhol is said to have kept in his scrapbook since that time. Topics of these paintings included Missile Maps, Work Boots, Self-Defense, and Key Service

Self-Defense (Positive) and Self-Defense (Negative)

Year: Circa 1985-1986

Medium: Synthetic polymer and silkscreen inks on canvas

Size: 20 x 16 in (50.8 x 40.6 cm) (each)

Frame size: 23.5 x 36 in (59.7 x 91.4 cm)

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, PA 10.442, on verso).

295,000 USD (pair)

About this work: While the boat and passengers featured in this photograph remain a mystery, their backdrop could not be more iconic. Warhol captures the New York City skyline in a composition where the World Trade Center towers out of frame and the Brooklyn Bridge’s northern gate peeks from top right. In his diary, Warhol cited the beauty of the Manhattan skyline, a storied cityscape that never seemed to lose its luster. In 1983, Warhol was commissioned by the city to create a poster honoring the 100th anniversary of the Brooklyn Bridge.

Manhattan Skyline

Year: Circa 1982

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)

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, FL1801087, on verso).

Price TBD

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: 9.125 x 10.5 in (23.2 x 26.7 cm)

Frame size: 13 x 14.5 in (33 x 36.8 cm)

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, TOP 343.194, on verso).

8,000 USD

About this work: Church, faith, and religious practices were a constant in Warhol’s life from early years—his family was devoutly Catholic. It is said that, even in his adult years, Warhol faithfully attended mass; in New York, he visited his local church several times a week until his death. These influences also carried over into Warhol’s works—he was inspired to create more than twenty large paintings based on Leonardo’s Last Supper, and transformed several religious Renaissance paintings in his Renaissance Suite (1984). A trip to the Warhol Museum in Pittsburgh will often reveal a section devoted exclusively to Warhol’s works which revolve around his religion. Perhaps more recognizable are his angels—the winged cherubs which permeate his work as early as the 1950s. From his original drawings to his self-published book (In the Bottom of My Garden), angels and cherubs may be found dotted throughout his life’s oeuvre.

Untitled (Fairy standing arms outstretched)

Year: Circa 1954

Medium: Original China ink drawing on paper

Size: 10.875 x 8.5 in (27.6 x 21.6 cm)

Frame size: 23.75 x 20.75 in (60.3 x 52.7 cm)

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, TOP 272.095, on verso).

15,000 USD

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.

About this work: Mel Bochner’s Measurements have a genesis in his “Measurement: Room,” debuted at Galerie Heiner Friedrich (Munich) in 1969. In this space, Bochner’s exhibit served both to turn the room itself into the art object, and to frame the viewer within that gallery room.

According to the Tate, these works were, at least in part, a reflection of Bochner’s focus on the “abstract systems that govern the physical world.” These measurements, placed on the gallery walls as art, brings into question the viewer’s place in the space. Click

Measurements (8 feet)

Year: 2007

Medium: Unique monoprints in eight parts with wood engraving and embossment on hand-dyed Twinrocker handmade paper

Size: 4 x 12 in (each) [10.2 x 30.5 cm (each)]

Frame size: 54 x 20.125 in (137.2 x 51.1 cm)

Provenance:

Krakow Witkin Gallery (New York)

Jonathan Novak Contemporary Art (Los Angeles)

Long-Sharp Gallery (Indianapolis)

14,000 USD

Right On

Year: 2023

Medium: Monoprint in oil with collage, engraving, and embossment on handmade paper

Signed and dated in graphite on recto

Size: 32.375 x 62.625 in (82.2 x 159.1 cm)

Frame size: 36.5 x 67 in (92.7 x 170.1 cm)

Provenance:

The artist’s printer

Long-Sharp Gallery

62,000 USD

SAM GILLIAM

(American, 1933-2022)

Sam Gilliam was born in Tupelo, Mississippi. From the early 1960s onward, Gilliam was recognized as an original and innovative color field painter. He advanced the inventions associated with the Washington Color School and took Abstract Expressionism to a new level. Renowned for his innovative Drape series, in which lengths of painted canvas were removed from the stretcher and suspended from the walls or ceilings of exhibition spaces, he continued to explore and reinvent his ideas about making art in a variety of styles, forms, and media.

One of the most important African American artists of the twentieth century, Gilliam was the subject of a major retrospective at the Corcoran Gallery of Art in 2005. His recent works debuted in 2022 at the exhibit Sam Gilliam: Full Circle at the Hirshhorn Museum in Washington, D.C. His artwork is held in the collections of museums worldwide, including the Art Institute of Chicago; National Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New York; Musée d’Art Moderne de la Ville de Paris; Museum of Modern Art, New York; The Phillips Collection, Washington, D.C.; Smithsonian American Art Museum, Washington, D.C.; Tate, London; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.

Peru Suite

Year: 2000

Medium: Intaglio, lithograph, and relief

Hand signed and dated lower right, numbered lower left

Edition of 5 plus proofs, this is AP 2/2

Size: 11 x 16 in (27.9 x 40.6 cm) each

Frame size: 17 x 22.5 in (43.2 x 57.2 cm) each

Provenance:

The printer (Vermillion Editions Limited)

Long-Sharp Gallery

Image courtesy of MyArtBroker.com

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)

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.’”

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.

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

18,000 USD

I’ll See You In My Dreams

Year: 2014

Medium: Acrylic and pencil on stitched canvas panels

Hand signed on verso

Size: 34 x 35 inches (86 x 89 cm)

Frame size: 34.25 x 37.25 in (87 x 94.62 cm)

Provenance:

The artist’s estate

Long-Sharp Gallery

21,000 USD

Set My Soul on Fire

Year: 2009

Medium: Acrylic and pencil on pencil on canvas

Hand signed on verso

Size: 48 x 41.75 in (122 x 106 cm)

Frame size: 49.375 x 43.25 in (125.41 x 109.86 cm)

Provenance:

The artist’s estate

Long-Sharp Gallery

23,500 USD

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 Amulets: 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.”

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

Provenance:

The artist’s studio

Long-Sharp Gallery

8,500 USD

About the Unexpected Happiness series: Each piece from the Unexpected Happiness series captures something remarkable about the human spirit. The sculptures feature a few moving sentences from the artist’s research, reverse-cast in stainless steel and captured inside a glass bell dome.

Featured text: “Discovering new and hidden paths, gnarly old trees, bark textures, dazzling spring rhododendrons, autumnal colours rippling. Breathing in the fresh air, listening to the singing of the birds, taking in the scent of the flowers, observing the strength and wisdom of nature. The gorgeousness and diverse colours of the rising sun, and the freshness of life that springs forth. The quiet being broken by the railway bell. Wild spaces, ancient trees, being lulled by the brook. Learning to wild swim, writing poetry, understanding the importance of others. The frisson of the familiar mixed with the new. The scent of strawberry picking. Bluebells and fresh cut grass fields, the city in the distance. Magical woodlands covered in snow, little ducklings learning to swim and popping back up to the surface like corks. The smell of pine trees in the summer, walking across pine needle surfaces that are bouncy like a sprung floor. Wondering what treasures from history lie beneath the fields where ancient people walked. Traces of lives lived here long before my time, dragonflies flitting overhead and bats almost touching me with their dark wings.”

Unexpected Happiness (Things that make me feel alive)

Year: 2023

Medium: Stainless steel on mirrored base in handmade glass dome

Size: 19.5 x 11.75 in (50 x 30 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

6,200 USD

MOIRA CAMERON (British, b. 1962)

Moira Cameron was born in London to a family of artists. Her father was the celebrated figurative sculptor Ronald Cameron (1930-2013). Her mother, Dorothy Cameron, was a sculptor in her own right. Half a century earlier, Dorothy’s mother had been among the first women to attend art school.

Cameron earned a BA (Fine Art) from Ravensbourne College of Art and an MFA from Chelsea College of Art. In the 1980s, she and her husband, artist David Spiller (1942-2018), moved to New York City. Amidst the bustling streets and graffiti-fueled art scene, Cameron began experimenting with paper sacks as a medium for her artwork. Sourced from her daily life and travels, then cut, patched, glued, and stenciled into something new, the shopping bags are both imbued with personal memories and more broadly representative of the signs, symbols, and sayings of 1980s and 1990s popular culture. As art historian Fraser Brough notes, Cameron’s work repurposing and transforming the discarded materials of everyday life “still looks fresh, raw without being messy, expressive without being naïve.” And over thirty years later, the way in which Cameron embraced sustainable art forms and popular slogans such as “Reduce, Re-use, Recycle” feels, in Brough’s words, “remarkably prescient” for our world today.

Cameron also creates artwork in partnership with her son, Xavier Spiller-Cameron, under the moniker Spiller + Cameron. Their works are assembled in union, with each collaborator bringing his and her strengths and weaknesses to the partnership—Xavier introducing his youthful, contemporary energy to Cameron’s maturity and experience. The duo describes their artistic process as a sort of “alchemy,” in which a base product is mystically transformed into something beautiful. Like Cameron’s work with paper bags, Spiller + Cameron “upcycle” discarded paint rags and other materials; after they are primed, ironed, and meticulously stitched together, the resulting “collages” are so precise that the stitches almost disappear. The paintings harness the energy of the materials’ previous use and, like alchemy, transmute a base product into something worthy of contemplation.

According to the artist: “I used a paper grocery bag from the A&P (Atlantic & Pacific) supermarket in New York, the slogan on the bag reading: ‘America’s choice.’ (An appropriate message for its return to America for the show at Long-Sharp Gallery.) This work made was made in 1988 while I was living in a small loft, a block south of Canal Street, the stenciled lyrics taken from the iconic song about New York by Frank Sinatra, encapsulating the consistent buzz and vibrancy, with the egalitarian possibilities afforded to anyone, and the importance of ‘making it’ in New York, the city that captured my heart.” Click

America’s Choice

Year: 1990

Medium: Acrylic and spray paint on paper bags

Initialed lower right in pencil on front; Hand signed and dated on verso

Size: 20.75 x 29.5 in (52.7 x 74.9 cm)

Frame size: 25 x 33.675 in (63.5 x 85.4 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

4,250 USD

Everything

Year: 1990

Medium: Acrylic and spray paint on paper bags

Initialed lower right in pencil on front; Hand signed and dated on verso

Size: 18.5 x 18 in (47 x 45.7 cm)

Frame size: 23.25 x 23.25 in (59.6 x 59.6 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

4,000 USD

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 this work: Zachariel is the Archangel of God’s judgment and is illustriously known as the Angel of Healing. He is patron of the sacrament of marriage and his name translates to “God’s command.”

Click to view a film

Zachariel

Year: 2020

Medium: Acrylic, oil, charcoal, canvas, paper bag, oil stick, canvas bag

Hand signed and dated on verso

Size: 43 x 35 in (109.2 x 88.9 cm)

Frame size: 45 x 36.75 in (114.3 x 93.3 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

8,800 USD

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.

Year: 2021

Medium: Mixed media

Hand signed and dated on verso

Size: 20 x 20 in (50.8 x 50.8 cm)

Frame size: 22 x 22 in (55.9 x 55.9 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

3,500 USD

Study of an Angel #5

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.

Year: 2021

Medium: Mixed media

Hand signed and dated on verso

Size: 20 x 20 in (50.8 x 50.8 cm)

Frame size: 22 x 22 in (55.9 x 55.9 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

3,500 USD

Study of an Angel #11

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.

Year: 2021

Medium: Mixed media

Hand signed and dated on verso

Size: 20 x 20 in (50.8 x 50.8 cm)

Frame size: 22 x 22 in (55.9 x 55.9 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

3,500 USD

Study of an Angel #12

JULIA IBBINI

(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: “In this series of works, a very recognisable central component of a door or arch found frequently in traditional Middle Eastern architecture is contrasted with use of algorithmic processing for the top pattern placement. The works are made of laser cut paper pieces layered over hand poured ink on mylar.

The fading effect in the patterning is based on a density map (in the form of a black to white gradient) directing where the pattern should be the fullest or ‘faded away.’ This handdrawn density map is then processed using algorithms--this allows the ink layer to show (or be hidden) through cuts in the paper.” Click

Free Flow No. 38

Year: 2022

Medium: Papers with ink on mylar

Size: 23.625 x 17.75 in (60 x 45 cm)

Frame size: 26.5 x 20.75 in (67.3 x 53 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

4,800 USD

According to the artist: “The Sands of Time emphasize visual history evolving and changing into a new narrative through our contemporary perspective and use of technology. Pattern, ornament and symmetry were unfortunate casualties of Modernism and although they are very much alive today, our viewpoint of these visual languages has changed forever.

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.”

Click to view a film

Sands of Time 4.2, 5.1 and 2.9

Year: 2023

Medium: Layered papers

Size: 16.875 x 11.325 in (43 x 29 cm) (each)

Frame size: 19 x 13.5 in (48 x 33 cm) (each)

Provenance:

The artist’s studio

Long-Sharp Gallery

3,000 USD (each)

AMY KIRCHNER

(American, b. 1963)

Working in acrylic and graphite, Amy Kirchner creates large-scale paintings on canvas. Unanchored from the familiar through reduction, form, and color, the work becomes solely unto itself.

Kirchner studied art and advertising at the University of Nebraska. Since graduating in 1985, she has enjoyed a long and successful career in graphic design. Amy worked for an advertising agency in Chicago, Illinois, from 1985 to 1993. In 1993, she moved to Indianapolis where she freelanced for many Indiana-based companies. She currently serves as an art director for the Indiana University Foundation.

Eighteen years ago, Kirchner began to focus on painting. Kirchner paints in silence and sunlight. She paints mood. She paints the space between breaths. In a fast-paced environment she seeks to slow time, offering the viewer a respite.

Long-Sharp Gallery (Indianapolis) began exclusively representing Amy’s work in 2016. Since that time, her works have been exhibited at art fairs in New York (NY), Palm Beach (FL), Chicago (IL), and Palm Springs (CA) as well as solo and group exhibitions with Long-Sharp Gallery in Indianapolis and New York. Since 2016, Kirchner’s paintings have been placed in collections across the United Kingdom and the United States, including a solo exhibition at the Art Museum of Greater Lafayette in 2023.

Amy lives in the Butler-Tarkington area of Indianapolis with her husband, John, (also an artist) and their two dogs. Their daughter, Mary Nell, was born, raised, and educated in Indiana.

According to the artist: “Skyscape 1 contains many layers of thinned paint, giving it texture and building gradually so that, over time, it became fleeting. On works like these, I choose to edit with thin white paint, because it allows me to work with what came before. So, the focus is less on animating and more on creating balance and movement overall. I use a process of error and refinement, allowing the discordant places to meet the harmonious ones, until I feel like a certain aesthetic balance has been achieved.”

Skyscape 1

Year: 2022

Medium: Acrylic on linen

Hand signed lower right and on verso

Size: 30 x 48 in (76.2 x 121.9 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

4,600 USD

DAVID KRAMER (American, b. 1963)

Inspired by vintage magazines and the portrayal of seductive characters within them, Brooklyn native David Kramer juxtaposes paint with humorous and reflective text to create glimpses of the ever-elusive good life. Or, as Kramer thought as a younger man, “what life was going to be like soon.”

Kramer’s combination of artistic talent and sharp wit has garnered ample national and international attention. The recipient of fellowships from the Pollock-Krasner Foundation and the New York Foundation for the Arts (among others), David Kramer has had solo exhibits on three continents and in seven countries; his works have been exhibited at the world’s preeminent contemporary art fairs including Art Basel and the New York Armory (where he had a solo exhibit in 2013). Kramer’s works have been exhibited in galleries around the globe, and may be found in the public collections of the Museum London (London, Ontario), Pompidou Museum - Musée National d’Art Moderne (Paris), and Lower Eastside Printshop (New York), among others. LongSharp Gallery is pleased to be exhibiting works by David Kramer.

End of the Tunnel

Year: 2016

Medium: Ink and goache on paper

Hand signed lower right

Size: 11.5 x 19.5 in (29.2 x 49.5 cm)

Frame size: 15.375 x 23.25 in (39 x 59 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

3,200 USD

Picnic

Year: 2013

Medium: Oil and enamel on canvas

Hand signed on verso

Size: 64 x 54 in (162.6 x 137.2 cm)

Provenance:

The artist’s studio

Private Collection

Long-Sharp Gallery

18,000 USD

What I Want To Hear

Year: 2016

Medium: Pencil and colored pencil on paper

Hand signed lower right

Size: 25.5 x 19.5 in (64.8 x 49.5 cm)

Frame size: 29.675 x 23.25 in (75 x 59 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

4,200 USD

MICHAEL LOVELAND (American, b. 1973)

Michael Loveland explores the different ways we are presented with information and how we absorb and process it in our daily lives. From hand-painted street signs to high-end corporate AD campaigns seen on billboards, he strives to find new light and meaning in common, mundane materials. Loveland’s latest body of works are cut and collaged from his own photographic images printed on materials such as old signs, discarded wood, and glass sheets that were once used as tabletops. These chance encounters with found objects have played into Loveland’s work continually.

Loveland graduated from the New World School of the Arts in Miami, FL in 1991 and earned his BFA from the Maryland Institute College of Art in Baltimore, MD in 1994. His artworks have been exhibited in galleries, art fairs, and exhibitions throughout the United States and Europe. Works by Loveland form part of many private collections, such as the Margulies Collection at the Warehouse in Miami, the Virgin Hotel Chicago Collection, along with permanent collections, such as the Brooklyn Art Museum, Perez Art Museum Miami, the Lowe Art Museum at the University of Miami, and The Metropolitan Museum of Art, New York.

The Buff Environmental series comes at a point in Michael Loveland’s practice where the graphic transfer of personal images plays a strong role. It is Loveland’s first exploration with silkscreen printmaking, used as a tool to facilitate his ideas in multiples with their own unique variations. The artist uses an altered medium through the silkscreen which provides him time to intervene and manipulate the image with spontaneity, giving each one-of-akind work a distinction within the overall narrative of the series.

Buff Environmental is centered on an image of a serene beach, a symbol for the artist’s hometown of Miami, Florida – which in sobering contrast is ground zero for rising sea levels and the effects of climate change. The buffed abstract interventions are multilayered metaphors that evoke the natural forces that will undoubtedly alter coastlines and the many ways society as a whole will need to cope – or act – towards this advancing phenomenon.

Buff Environmental III

Year: 2023

Medium: monoprint of manipulated silkscreen image on acrylic painted reflective paper

Size: 39.5 x 27.5 in (100.33 x 69.85 cm)

2,500 USD

The Buff Environmental series comes at a point in Michael Loveland’s practice where the graphic transfer of personal images plays a strong role. It is Loveland’s first exploration with silkscreen printmaking, used as a tool to facilitate his ideas in multiples with their own unique variations. The artist uses an altered medium through the silkscreen which provides him time to intervene and manipulate the image with spontaneity, giving each one-of-akind work a distinction within the overall narrative of the series.

Buff Environmental is centered on an image of a serene beach, a symbol for the artist’s hometown of Miami, Florida – which in sobering contrast is ground zero for rising sea levels and the effects of climate change. The buffed abstract interventions are multilayered metaphors that evoke the natural forces that will undoubtedly alter coastlines and the many ways society as a whole will need to cope – or act – towards this advancing phenomenon.

Buff Environmental V

Year: 2023

Medium: monoprint of manipulated silkscreen image on acrylic painted reflective paper

Size: 39.5 x 27.5 in (100.33 x 69.85 cm)

2,500 USD

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.

About the Fragility series: Jason 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 the University of North Carolina - 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 #27

Year: 2024

Medium: Mixed media on canvas

Hand signed on side

Size: 71 x 47 in (180.3 x 119.3 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

24,500 USD

About the Fragility series: Jason 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 the University of North Carolina - 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 #28

Year: 2024

Medium: Mixed media on canvas

Hand signed on side

Size: 71 x 47 in (180.3 x 119.3 cm)

Provenance:

The artist’s studio

Long-Sharp Gallery

24,500 USD

CHA JONG RYE (Korean, b. 1968)

Born in Daejeon, Korea and the recipient of an MFA in Sculpture from Ewha Women’s University in 1996, sculptor Cha Jong Rye (b. 1968) meticulously crafts works which have been featured in exhibits and collections worldwide. Among her solo exhibitions are shows at the Sungkok Art Museum (Seoul, 2011), the Nampo Art Museum (Goheung, 2012), Red Sea Gallery (Singapore, 2015), Bauzium Sculpture Museum (Gosung, Gangwon-do, 2017), and The Center for Art in Wood (Philadelphia, 2018). Selected group exhibitions include the Berkshire Museum (2015), the Nampo Art Museum (2014), and the Kim Chong Yung Museum (Seoul, 2017), among many others.

Using wood as her chosen medium, Jong Rye constructs seamlessly intricate wooden landscapes through her often wall-mounted sculptures. Sanding and layering hundreds of delicate wood boards, her process is intentionally unintentional; rather than executing a predetermined design, she allows herself to discover images in the fluidity of arranging and 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 wrinkled linen or rippling water.

Equally important to her own subjectivity in the creative process is the subjectivity of her audience--the freedom of the viewer to interpret her work from a unique perspective. Jong Rye considers her work to rely on the interaction and communication between viewers and herself, and feels that a sculpture is most complete when a viewer interprets it in a way that is unique from her own understanding. Cha Jong Rye currently works and resides just outside of Seoul, South Korea.

Expose Exposed 230425

Year: 2023

Medium: Wood, sibatool

Size: 27.5 x 55.1 x 6.25 in (70 x 140 x 16 cm)

Provenance: The artist’s studio

Long-Sharp Gallery

28,000 USD

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)

Provenance:

The artist’s studio

Long-Sharp Gallery

30,000 USD

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: 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.

We Are Water

Year: 2022

Medium: 316 stainless steel on 316 stainless steel base

Size: 67.8 x 35.5 x 37.5 in (172 x 90 x 95 cm)

From a unique series of 5 plus proofs; this is 2/5

Provenance:

The artist’s studio

Long-Sharp Gallery

70,000 USD