SPANIERMAN MODERN
ATLANTA ART FAIR 2024
SPANIERMAN MODERN
Steven Alexander
Steven Alexander (b. 1953) is an American artist who makes abstract paintings characterized by luminous color, sensuous surfaces, and iconic configurations. His works are composed as sensate visual events that embody potential states of being. They present uncomplicated color situations that mirror the viewer. The situations allude to rhythms, tensions, and dualities of the body and psyche. They invite meditative encounters with one's perception and imagination.
Born in west Texas, Alexander spent his early years observing the vast skies and flat expanses of the southwest plains. He studied art at Austin College before He moved to New York in 1975 to obtain his M.F.A. in painting from Columbia University. There, he studied with Richard Pousette-Dart and Dore Ashton. Alexander became an elected member of the American Abstract Artists group. He has been awarded grants from the Pollock-Krasner Foundation and the Belin Foundation. He maintained a studio residency at PS1 Contemporary Art Center in New York, the Ballinglen Arts Foundation in Ireland, and Studio Art Centers International in Italy. He has also been awarded numerous public commissions.
As well as exhibiting his own works, Alexander has curated exhibitions and written critical essays on contemporary artists. His works have been featured in more than one hundred exhibitions, most recently in one-person shows in New York at Spanierman Modern and David Findlay Jr Gallery, as well as in numerous solo and group exhibitions and art fairs throughout the United States and abroad. He maintains a home and studio in the hills of eastern Pennsylvania.
Steven Alexander, BluePoet, 2019, Oil and acrylic on canvas, 50 x 40 inches
Signed, titled, and dated on the verso
Gavin Benjamin
Gavin Benjamin (b. 1971) is a multifaceted artist who combines original analog photography and appropriated images with collage, paint, and varnish to create rich and luxurious works that call back to baroque traditions while incorporating elements of current culture to provoke, critique, and explore.
Born in Guyana, South America and raised in Brooklyn, New York, Benjamin received his B.F.A. from the School of Visual Arts in New York City. During this time, he worked as an intern for the legendary portrait photographer, Arnold Newman. Benjamin also worked as a black and white and color printer at LTI and Baboo color labs. From there, he went on to work at Edge Reps and Exposure NY, agencies representing commercial and advertising photographers, prop stylists, as well as hair and makeup artists. He went on to work as a freelance production coordinator/photo editor with stints at Kenneth Cole productions, Esquire Magazine, Hachette Filipacchi Media, and Good Housekeeping magazine.
Benjamin investigates the intersection of culture, media, politics, fashion, and design, addressing questions that (continue to) confront men of color in America today.
“My work reflects everything that I’m thinking – it includes everything that I love and everything that I’m challenged by. It’s honest and curious and bright and thoughtful. And sometimes a little dark. It’s all of the things that made me want to be a professional artist in the first place.”
Gavin Benjamin, TheGlamorousLifeNo.1, 2022, Mixed media, collage, analog photography, lacquers, mixed crystals, canvas, and paper on panel, 60 x 60 inches
Signed, titled, and dated on the verso
Gavin Benjamin, HeadsofStateNo.11, 2023, mixed media, collage, analog photography, lacquers, mixed crystals, canvas, and paper on panel, 40 x 30 inches
Edition of 5
Signed on the verso
Gavin Benjamin, HeadsofStateNo.37, 2023, Mixed media, collage, analog photography, lacquers, mixed crystals, canvas, and paper on panel, 40 x 30 inches Edition of 5
Signed on the verso
Gavin Benjamin, HeadsofStateNo.57(NaomiSimms), 2023, mixed media, collage, analog photography, lacquers, mixed crystals, canvas, and paper on panel, 40 x 30 inches
Edition of 5
Signed on the verso
Marco Casentini
Marco Casentini (b. 1961) is an Italian abstract painter and author. His paintings are elegant, minimal studies of geometric abstraction through intensely saturated colors and strong lines. He is often inspired by an experience tied to landscapes or urban scenes in Italy and California. He is influenced by Hard-Edge abstraction, “Finish Fetish” minimalism, and Pop Art. His work leaves the viewer with an impression or emotion, rather than a concrete scene image. He uses the juxtaposition of color, light, and geometry to convey that which he finds in his everyday life.
Marco Casentini was born in La Spezia, Italy. He studied at the College of Art, Carrara and the Accademia di Belle Arti, Carrara. He was awarded the Pollock-Krasner Foundation Grant in 2005 for outstanding artistic contributions. In 2010 he was awarded the Premio PEA, Lerici for his writing. He has exhibited extensively in the United States and abroad. He currently divides his time between Los Angeles and Milan, where he teaches at the Accademia di Belle Arte di Brera.
Marco Casentini, ErasedI, 2020, Acrylic on D-board, 7 5/8 x 23 5/8 inches
Signed, titled, and dated on the verso
Marco Casentini, ErasedII, 2020, Acrylic on D-board, 7 5/8 x 23 5/8 inches
Signed, titled, and dated on the verso
Herbert Gentry
Herbert Gentry (1919-2003) was born in Pittsburgh, Pennsylvania and grew up in Harlem, New York. His mother began work in Harlem as a chorus dancer in theater and club venues, introducing Gentry to a world of music and magic. His introduction to modern painting came about after completing high school when he was enrolled in art courses taught by WPA artists at Roosevelt High School and the local YMCA. Shortly after settling into an office job, his life changed when War was declared in 1941. Over the course of his enlistment, Gentry was stationed in North Africa, Corsica, France, Austria, and Germany. This exposure to new cultures, people, and places would inspire him to devote his life to constantly moving around, meeting new people, and painting. He moved to Paris in 1946 and studied drawing and painting at the Académie de la Grande Chaumière. He opened a clubgalerie in 1948 in Montparnasse as a meeting place for artists and students of all nationalities. After a short stint back in New York, Gentry returned to Paris where he transitioned fully into his life as an artist. In 1959 he was invited to exhibit in Copenhagen and settled there until 1964, when he moved to Gothenburg, and later Stockholm, Sweden, all the while keeping a studio in Paris. Gentry would rotate between the different international art worlds, actively participating in the art and jazz scenes there, eventually including New York as one of his bases.
He painted in a semi-figural abstract style, suggesting images of humans, masks, animals, and objects caught in a web of circular brushstrokes encompassed by flat, bright colors. He had suggested that his works are uncalculated and come from his subconscious: painting what he feels as he feels it. Gentry's striking images are the product of his exposure to exotic people and places throughout his lifetime.
Herbert Gentry, Portrait, 1955, Oil on canvas, 31 1/2 x 25 1/2 inches
Herbert Gentry,Cityscape(probablyParis), 1960, Watercolor and gouache on paper, 21 1/2 x 16 1/4 inches
Signed lower right
Teo Gonzalez
Teo Gonzalez (b. 1964) investigates landscape through the ever-present foundation of the modernist grid. The grid anchors each of Gonzalez’s works, the pattern onto which he applies thousands of drops of water, and then meticulously places a small dot of ink or enamel inside each droplet before the work is left to dry. His paintings recall Abstract Expressionism with the utilization of the pictorial field and his explorations of color. They also are undeniably related to Minimalism with his repetitive process and fixation on the grid. Gonzalez notes that an important facet of his paintings is their contradictory nature; evident in his choice to employ the grid to produce landscape paintings. The two appear to be in opposition as their respective ideologies conflict with each other. The grid defines Modern art. It declares art as a self-contained object that is defined by the sum of its parts. It is deployed by artists in the pursuit of a reflection on the world in which that art exists. Conversely, landscape painting calls back to representational techniques and traditions where the pursuit of those artists was to overcome the challenges of the two-dimensional canvas and represent the natural world. A landscape painting realized through the grid forces the traditional genre to be reinvestigated through the lens of Modernism.
Teo Gonzalez was born in the small town of Quinto, Spain. Shortly after the development of his signature style at the tail end of 1990 and his subsequent move to Southern California, one of Gonzalez’s works, 3036 Gotas de Tint, was acquired by the Museum of Modern Art. He studied fine art at the California State University, from where he graduated Magna Cum Laude in 1997. Teo Gonzalez currently lives and works in Brooklyn, New York.
Teo Gonzalez, Untitled#681, 2014, Acrylic on board, 42 x 42 inches
Signed, titled, and dated on the verso
Susan Grossman
Susan Grossman approaches landscape through a minimalistic palette of black, white, and gray with the occasional appearance of a primary color. Her process begins with reference photographs of subjects and locations. After a return to the studio, painting begins and draws directly from the source materials before Grossman allows the artistic process to take over and create a unique narrative world. Elements of the original location are repositioned, created from nothing, or eliminated to achieve the final product. The physicality of the technique saturates the final product with a sense of action that feels as though one is witnessing something completed only moments before. Grossman’s landscapes are created to be intentionally ambiguous and allow each viewer to form an unbiased reading of the work. Although one can assume where the source material came from, there are no identifying factors– such as street signs or even faces– that allow for a singular conclusion. Her open and non-specific narratives leave the viewer with a sense of unease as it is clear that much is implied throughout the image, yet the viewer walks away without any sense of resolution.
Susan Grossman graduated from Bennington College and received her Master’s in Fine Arts from Brooklyn College. She has taught at Wesleyan University, the City College of New York, and the National Academy of Design School. Her work can be found in numerous private and public collections throughout the United States, including the Mint Museum in North Carolina, and the New York Historical Society. She currently works in Brooklyn, New York.
Signed and dated on the verso
Susan Grossman,Formation, 2023, Charcoal and pastel on paper mounted on board, 31 x 34 inches
Signed and dated on the verso
Susan Grossman, Foreshadow,2023, Charcoal and pastel on paper mounted on board, 24 1/4 x 29 1/2 inches
Inness Hancock
Inness Hancock’s (b. 1972) landscapes begin with an on-site study of a location through watercolors or sketches. Throughout, Hancock takes care to consider the history and energy of the space to form a personal connection that is translated into her large-scale abstract oil paintings. Her painting process focuses on the transparency and gesture of her movements. The dynamic and bold paintings she creates contrast her subtle, defined color palettes. Hancock’s reflection of the outside world allows her to reveal truths about her inner spirit. Themes evident throughout her oeuvre include mythology, the feminine perspective, and the depth of human emotion and experience. Her paintings reproduce not only the visual experience of the world but also the inner landscape of the human mind and spirit.
Inness Hancock studied art and philosophy at the University of Southern California and the College of Charleston. Her works are included in numerous private and high-profile art collections and have been widely exhibited in solo and group exhibitions in galleries and museums. She lives and works in Bedford, New York, and Northeast Harbor, Maine.
Inness Hancock, MorningLight, 2024, Oil on canvas, 60 x 60 inches Signed, titled, and dated on the verso
Felrath Hines
Felrath Hines (1913-1993) believed that painting was, above all else, a personal pursuit. Hines’ lifelong interests in technical precision and harmonious colors were evident throughout his career. In the 40s and 50s, his figurative works were influenced by the Cubist movement, which in turn, was influenced by tribal African shields and masks. In the 60s he transitioned to expressionist landscapes, claiming that other artists were far better at rendering realistic images, so why not explore the abstract? Unsatisfied unless he was challenging himself, the 70s saw him begin to explore harmonious biomorphic forms. Once satisfied with that exploration, he turned to the De Stijl movement for further inspiration.
Felrath Hines (1913-1993) was born and raised in Indianapolis. He attended the Art Institute of Chicago before moving to New York to study with the Russian modernist Nahum Tschacbasov. He later studied design at the Pratt Institute and New York University. In addition to his artistic oeuvre, Felrath Hines was known for his conservation work and opened his private practice in 1964. In 1972 he left New York for Washington, D.C. to become Chief Conservator of the Smithsonian Institution’s National Portrait Gallery and later the Hirshhorn Museum and Sculpture Garden until his eventual retirement in 1984.
Signed and dated lower right
Felrath Hines, ThreeFigures, 1947, Oil on canvas, 36 x 30 inches
Signed and dated lower right
Felrath Hines,Totem, 1950, Oil on canvas, 30 x 24 inches
Signed lower right
Signed, titled, and dated on the verso
Felrath Hines,Pond, 1958, Oil on canvas, 36 x 24 inches
Signed on the verso
Felrath Hines, Landscape, 1963, Oil on canvas, 60 x 36 inches
Felrath Hines, FloatingRectangle, 1984, Oil on canvas, 26 x 39 inches
Felrath Hines,TropicNight, 1989, Oil on canvas, 26 x 26 inches
Signed on the verso
Lois Mailou Jones (1905-1998) was an artist from Boston, Massachusetts. She studied design at the Boston School of the Museum of Fine Arts, graduating in 1927. She received her graduate degree in design from the Design Art School of Boston in 1928. She designed textiles professionally before deciding to focus on painting after attending summer classes at Howard University. She taught at the Palmer Memorial Institute in North Carolina where she founded the art department. She was later recruited by Howard University in Washington, D.C. to join their art department where she trained several generations of artists. After spending time in Paris, Jones began to introduce motifs of African tribal art into her works. She was further influenced by her marriage to the Haitian graphic designer Louis Verginaud Pierre-Noel. She served as a cultural ambassador to Africa for the United States Information Agency beginning in 1970. In this role she gave lectures, interviewed local artists, and visited museums in eleven countries. This experience can be seen reflected in her works from 1971-1989.
Lois Mailou Jones
Signed and titled lower right
Lois Mailou Jones, Paris, ca. 1937-38, Oil on canvas laid to board, 18 1/4 x 24 inches
Signed lower right
Signed on the verso
Lois Mailou Jones, TheMusician, ca. 1940, Casein on paper laid to masonite, 18 1/8 x 14 7/8 inches
Sam Middleton
Sam Middleton (1927-2015) was one of the leading 20th-century American artists living and working in the Netherlands. A mixed-media artist, Middleton grew up in Harlem at the height of the Harlem Renaissance. He was immersed in the vibrant cultural and musical scene of the era. He became acquainted with jazz music through performances at the Savoy Ballroom, which would remain a primary influence on his art throughout his career.
Middleton left New York briefly at the height of World War II, joining the Merchant Marines in 1944, but returned to New York in the early 1950s. He immersed himself in the growing artistic scene of Greenwich Village and the Lower East Side. Middleton initially frequented the Cedar Tavern and formed close friendships with New York School artists including Franz Kline, Jackson Pollock, and Robert Motherwell. His circle soon gravitated to The Five Spot Café on the Lower East Side where jazz greats Cecil Taylor, Thelonious Monk, John Coltrane, and Charlie Parker performed nightly. During this decade, jazz, the music that inspired him, was changing. Compositions were never played the same way twice. Musicians emphasized improvisation, spontaneity, and creativity of sound. Middleton found inspiration in this new sound and worked to find his own creative voice. He said: “For me, improvisation is a galaxy of color. When I listen to music I feel like a soloist.” In his search to “paint sounds” Middleton was challenged by the changing tempo, the hint of melody, and the speed and dexterity of the music.
In 1955, Middleton made his first artistic trip outside of New York. Following the lead of other African American artists such as Charles White and Elizabeth Catlett who were in search of a more open-minded atmosphere than pre-Civil Rights United States, Middleton settled briefly in Mexico City. He had traveled there under a grant from the John Hay Whitney Museum that Franz Kline had helped him secure. In Mexico City, Middleton began working in collage and transforming his artistic viewpoint from social realism to expressionism. He had his first one-man exhibition in Mexico City in 1957. By 1959, Middleton had left the United States permanently. He moved to Spain, then Sweden and Denmark, before finding his permanent home in the Netherlands, settling in Schagen in January, 1962. He began teaching (at Atelier 63, the Royal Academy of Art in Hertogenbosch) and exhibiting regularly, with exhibitions across Scandinavia through the 1960s, 70s, and 80s, and, more recently, a retrospective at the Cobra Museum voor Moderne Kunst in 2003.
His circle of friends – a considerable group of African American expatriates living in Europe –included Herbert Gentry, James Baldwin, and Ted Joans, among others. Although Middleton never returned to live in New York, he continually drew upon his youthful memories of Harlem and the lively Greenwich Village music, literary, and art scene. In his later works he expanded his themes to incorporate his Dutch surroundings and embraced a larger body of music.
Middleton’s work is included in the Whitney Museum of American Art, Columbia Museum Of Art, The St Louis Museum of Art, The Amistad Research Center, The Studio Museum, Fisk University Galleries, the Hampton University Museum, and the Howard University Museum. His work is further included in international museum collections in Australia, Israel, and The Netherlands, including the Stedelijk Museum in Amsterdam and Venlo’s Van Bommel Van Dam Museum. His collages were included in the pivotal 1962 exhibit at the Whitney Museum, Forty Artists Under Forty, and, twenty years later, in the Studio Museum’s exhibition An Ocean Apart: American Artists Abroad. His work continues to be shown in major exhibitions in both the United States and Europe, including the Whitney Museum’s 2015 exhibition America Is Hard to See. Every scholarly publication on African American art after the War mentions Middleton’s elegant and lyrical collages.
Signed and dated lower right 'Middleton
Sam Middleton, Galaxy, 1964, Watercolor, gouache, and crayon on paper, 8 x 10 1/2 inches
'64'
Signed and dated lower right
Sam Middleton, StrongWorld, 1981, Mixed media and collage on paper, 20 x 30 inches
'Middleton'81'
Signed and dated lower right 'Middleton
Sam Middleton, Music, 1985, Mixed media and collage on paper, 18 1/2 x 24 1/2 inches
'85'
Signed and dated lower right 'Middleton '99'
Sam Middleton, Rhythm&Blues, 1999, Mixed media and collage on paper, 30 3/4 x 41 3/4 inches
Signed and dated lower right 'Middleton
Sam Middleton, Maestros, 1999, Mixed media and collage on paper, 30 1/2 x 40 1/2 inches
'99'
Signed and dated lower right 'Middleton
Sam Middleton, StudioSession, 1992, Mixed media and collage on paper, 30 3/4 x 41 3/4 inches
'92'
Signed and dated lower center 'Middleton
Sam Middleton, Time, 1993, Mixed media and collage on paper, 30 1/4 x 41 3/4 inches
'93'
Louise P. Sloane
Louise P. Sloane (b. 1952) has been active as an abstract painter since 1974, infusing her works with personal text that motivates her own experimentation. The visual language of her paintings continues the legacy of reductive and minimalist ideologies, while celebrating color and the human inclination towards mark making. Sloane’s detail-oriented works are typically divided into rectangles or squares. The quadrangle has become a repetitive motif, often centrally featured within the context of a grid. In contrast with her iterative geometries, it is important to Sloane that the works present themselves as human made objects. Thick paint constructs repetitive handmade patterns, the physical motion of her brush strokes revealing the humanity of her practice. The surface holds Sloane’s signature extrusions. Painstakingly written and overwritten, Sloane’s inscribed text is a form of private meditation. Turned into a relief, and abstracted through color blocking, the text is interpreted through its physicality, not its meaning. Contrasting color choices intensify the dimensionality of the surface texture. Sloane uses color straight-up, without mixing. Blending takes place optically, as one color reacts to the other, red against green, or blue against yellow. The elements of mark-making, color, and geometry compete for the viewer’s focus, keeping the eyes and mind in constant motion, unifying her interests in the form of the square.
Sloane’s work has been featured in numerous institutional collections, including the Hunterdon Museum of Art, Coral Springs Museum of Art, the Jane Voorhees Zimmerli Art Museum, and Cornell Museum of Art and History. Sloane’s works are in the permanent collections of the Heckscher Museum of Art, the New Britain Museum of American Art, the Nassau County Museum of Art, Yeshiva University Museum, the Southern Alleghenies Museum of Art, and the Virginia Museum of Fine Arts (the Sidney and Francis Lewis Collection).
Louise P. Sloane, RingofFire, 2018, Acrylic paint and paste on linen, 36 x 36 inches
Signed, titled, and dated on the verso
Heidi Spector
Heidi Spector’s (b. 1966) works succeed the lineage of Minimalism, the movement that sought to move away from representation in response to the introduction of photography in the twentieth century. Photography’s ability to capture an image as fact instead of painterly representation caused a crisis in painting, leading artists to reject the idea of art as an imitation of that which already exists and instead view it as an object that contains its own reality. Artists that participated in the movement looked to deconstruct art into its base elements of line, color, and shape in order to re-present it as a more truthful and simplified version of itself. The prioritization of the inherent qualities of art transformed art from a representation of the outside world into an object that exists in the physical world; the same world in which the viewer exists. This concept invites the viewer to consider the spatial relationship between themself and the object, thus making them an active participant in the physicality of the work as opposed to a passive bystander.
Spector’s pieces maintain the philosophies of the Minimalist movement through the focus on the essential elements that make up a composition such as line, repetition, color, and reflection. However, the inclusion of bold, bright, and lively colors is a drastic departure from the pillars of the movement. Spector refers to her canon of work as “Geometric Minimalism.” The paintings and sculptures are composed of candycolored acrylic paint poured over Russian birch and coated with resin. The work is completed with a blowtorch to create the reflective, glassy surface. Spector is encouraged by popular music: each work’s color palette creates a sense of vibration and can be seen as a response to the song from which she derives the piece’s title. Thus, her canon can be analyzed as an audio-visual playlist of her career. Her works are inspired by a variety of artists including Ella Fitzgerald, Johnny Cash, Led Zeppelin, and Calvin Harris.
Although Spector avoids the explicit inclusion of emotional content within her works, there is an undeniable energy to which the viewer can connect. The lively colors pulse and vibrate together, infecting the viewer with an upbeat mood akin to that felt while dancing at a nightclub. The reflective surface of the pieces once again emphasize the Minimalist movements’ desire to include the viewer themself in the art.
Heidi Spector was awarded an honorary doctorate of Civil Law, honoris causa, by Bishop’s University in 2023. Spector’s work has been the subject of numerous solo and group shows including exhibitions in Montreal, London, Paris, Los Angeles, Houston, Miami, and New York. Her work is included in corporate, private, and museum collections worldwide. She currently lives and works in Montreal, Canada.
Heidi Spector, ToBelieveinaMiracleI,2024, Liquitex with resin on panel, 50 x 12 x 2 inches
Signed, titled, and dated on the verso
Heidi Spector, ToBelieveinaMiracleII, 2024, Liquitex with resin on panel, 50 x 12 x 2 inches
Signed, titled, and dated on the verso
Diane Walker-Gladney
Diane Walker-Gladney (b. 1955) is a contemporary abstract painter whose personal landscapes deploy vibrant colors, intricate layers, and whimsical subject matter. Her works center around the significance of capturing fleeting moments. These seemingly insignificant moments serve as the foundation for narratives in her paintings. Whatever story Walker-Gladney sets out to tell becomes embedded into her paintings due to the reactive mark-making that initiates her process. She applies paint, graphite, or watersoluble crayons to lay out the initial strokes and lines that become the underpinnings of the work. Although these marks may become covered in the final product, the intent remains in the painting’s history. After the preliminary marks are made, she intuitively and organically works in response through the addition and subtraction of copious layers of acrylic paints and glazes until the final transforms into documentation of that experience.
Diane Walker-Gladney was born in Connecticut and received her Bachelor’s and Master’s of Art from Central Connecticut State University. Her works are in several public and private collections, including the Denton Public Art Project and the Longview Museum of Fine Art. She was named a Hunting Art Prize finalist in 2007, 2009, and 2012. She currently lives and works in Dallas, Texas.
Signed on the lower right edge
Signed and titled on the verso
Diane Walker-Gladney, IceSkating101, 2023, Acrylic and graphite on canvas, 36 x 48 inches
Ouattara Watts
In his works, Ouattara Watts (b. 1957) summons imaginary worlds and mystical visions, from ancestral to contemporary, to observe the metaphysical relationship between creatures. Vibrant colors, mysterious figures, and allusions to spiritual rites in the form of equations and cryptic symbols are apparent, and the interrelationship of these elements creates a dimension unique to Watts. Watts embraced art at an early age and gained an experience in spiritual schooling. He was inspired by the works of Picasso and other artists from the Modern Art movement. At the age of 19, he moved to Paris to pursue art education training at L’École Nationale Supérieure des Beaux-Arts.While living in Paris, Watts met Jean-Michel Basquiat at an art opening. It was Basquiat who persuaded him to move to New York to pursue his career. Both artists focused on themes which highlighted African culture, philosophy, and spirituality. Watts spent the next several years combining elements of his African roots with Western influences. This allowed him to create his own unique artistic voice. Influenced by West Africa's spirituality and multiculturalism, his large-scale, abstract compositions combine mediums to fuse African and Western aesthetics and explore themes of spirituality, PanAfricanism, and modernism. His source material is colorful and varied, from traditional fabrics and paint to cut-out photographs and digital prints. The added layers forge a sense of his multicultural identity and reflect upon an increasingly multicultural society. Ouattara Watts’ art has played an essential role in African American art history. He has exhibited his work in institutions worldwide.
Ouattara Watts has been exhibited at the Whitney Biennial, the National Museum of African Art, Smithsonian Institute, the Venice Biennale, and MoMA. His work can be found in the collections of the Museum of Modern Art, New York, US; Smithsonian National Museum of African American Art, Washington, D.C., US; The Hood Museum of Art, Dartmouth College, Hanover, US; Collection Mohammed IV, Morocco; Fondation Dapper, Paris, France; International Contemporary Art at Glen Carlou, Paarl, South Africa; and the UC Berkeley Museum of Art and Film Archive, Berkeley, California, US, among others. He currently lives and works in New York.
Ouattara Watts, Initiation, 1986, Oil on canvas sail, 84 x 144 inches
Signed, titled, and dated on the verso
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Our gallery is located at 958 Madison Ave., 2nd floor, New York, NY, 10021
Tuesday - Saturday 10am-6pm