Bust-length portrait of Marilyn Monroe positioned in front of a red background; Haring used a poster of the actress onto which he applied sumi ink in a series of outlines, marks and drips over the face, neck, chest and shoulders.
Bust-length poster of Marilyn Monroe over which Haring has applied sumi ink outlining the features of the form and making a series of marks over her face, neck and chest
Abstract painting dominated by brushstrokes in vivid yellows on white background with light blues in center and left side of canvas, large area of light brown in upper right and lower left, and brushstrokes in dark red in left center of canvas. Signed “hans hofmann” in lower right.
In “Untitled,” Hofmann’s use of shapes, colors, lines, and space echoes nature, producing a new type of landscape; one that is composed, not of trees and land, but of the balance and tension between form, vibrating colors and energetic brushwork.
Inscribed in black ink, on pipe, along length of stem: E/A ce que (sic) manque à nous tous - Man Ray 69; verso, to the r: E/A; on second (larger) pipe: ce que (sic) manque à nous tous - Man Ray 69; verso, to the r.: E/A [upside down]
16.5 cm x 11.6 cm x 2 cm (6 1/2 in. x 4 9/16 in. x 13/16 in.)
A clear glass bubble rests on the bowl of a plain white clay pipe. Along the stem of the pipe are the words, "Ce que [sic] manque à nous tous."
Playing with the meaning attached to the pipe, a staple of Dadaist and Surrealist conceptual art, Man Ray invites us to make a story that connects the objects, the pipe and the bubble, and the title, "What We All Lack."
three aluminum-painted canvas panels joined in the back to form a square, with five inlays of Sculptmetal, zinc photographic plates and lead
Literal and straightforward references to the body have been “frozen” into the soft, manipulable Sculptmetal and lead plates, which are set into the canvas and flush with the surface. The photographic plate has an image of a fired bullet from an earlier Morris lead piece.
Verso, label: The Pace Gallery/32 East 57th Street/New York, NY 10022 [black letterpress, all one line]/NEVELSON Black Excursion 13/#1922 1969 Black Wood & Formica/37 1/2 x 47 1/4" [typescript, below]; to the r., PAUL SIPOS INC./181 DUANE STREET NEW YORK, NEW YORK 10013/ (212) 925-3067; below, in black marker: LANNAN/FOUNDATION/1/CHRISTIES
inscribed in red paint, l.r.: 82.71
95.25 cm x 120.02 cm x 11.43 cm (37 1/2 in. x 47 1/4 in. x 4 1/2 in.)
Square, rectangular, and circular pieces of wood and formica are assembled in rectilinear, cabinet-like compartments. The entire object is painted black.
Assembled from found pieces of wood and formica, the objects that make up the piece resonate between being subsumed into the purely abstract form and reminding the viewer of their one-time life as daily objects.
Verso, in black wax pencil, u.l. of canvas: TOP/70 x 78/Bathsheba/9 18 [encircled] 1959/ Olitski; label, l. portion of horizontal support member: SL. 69.188.2 [red typescript]/LANNAN/BATHSHEBA I/by Olitski [black typescript]; in red paint, l.r. corner brace: 1959.9
198.44 cm x 179.07 cm x 5.4 cm (78 1/8 in. x 70 1/2 in. x 2 1/8 in.)
Sketch of a standing male figure outlined in dark blue spray paint to the left of a color rendering of the same male figure outlined in light blue standing next to a chair. The name “DAVID” stenciled at bottom left of center. Composed of various materials, including patent leather, felt, plastic, wool and spray paint on canvas.
“Napoleon Standing Next to a Chair” is a re-working of Rivers’ 1964 piece “The Greatest Homosexual,” which was based on Jacques-Louis David’s 1812 “Napoleon in His Study,” and executed using the artist’s signature gestural handling of the figure and characteristic silhouettes. The reinterpretation is both an homage to and a parody of David’s Old Master painting, exposing self-important state portraiture as kitschy political propaganda.
Verso, inscribed in red paint, c., u.l. and l.r. of panel: 70.14a (l. panel), 70.14b (r. panel); in crayon, u.l..: Rockburne/67/2 parts (r. panel); sheet attached to l. panel, bot. third: see copy in object file. Aluminum panels are stamped: ALCOA REG/TM .O64 ANA
231.78 cm x 219.1 cm x 6.67 cm (91 1/4 in. x 86 1/4 in. x 2 5/8 in.)
Two large panels painted red panels of aluminum, situated against one another so that the seam is visible at center. A line of white runs along each panel's outer edge.
A minimalist piece, the subject matter of which is 1) the red color, from which the piece takes its name, "Fire Engine Red," 2) the effect on the color of the painting surface, aluminum, and 3) the texture of the painted surface, which was quickly dried and given a wrinkled texture with a heat lamp.
Verso, inscribed in red marker on canvas over top member of stretcher, l. portion: 79.30; on canvas over lower member of stretcher, r. portion: 79.30; in black marker on canvas over top member of stretcher, r. portion: DAVID SALLE UNTITLED (DARK RED)/ 1978; to the l., white label: 1979.30/SALLE, David/Untitled/PAINTING/53 1/4 x 73 1/4 in (framed); 52 (typescript or printed by computer printer)
Two nude women, a telephone, and a car crash are rendered in graphite on a red ground. Any suggestion of narrative is subverted through abrupt changes in scale and a flattened-out, depthless pictorial space.
In this early work, Salle brings together such diverse painterly vocabularies as Color Field, Pop, and the noir-tinged realism of Edward Hopper. Approached with an air of clinical detachment, individual images, styles, and movements emerge as so many positions to be occupied, emptied of their historical specificity.
Made of thick steel, this sculpture has two very distinct halves. One on side, the thick sheet of steel gracefully curves around and back on itself, making loops and rounded edges. On the reverse, the steel is angular, jagged, and sharp, jutting into the spaces in the sculpture's interior and the space around the whole. At the very center of the piece, along the implied dividing line between the two sides, is a relatively small box.
The subjects of Lucas Samara's steel sculpture are in part formal: the encounter between the two different halves, the curved and the jagged; the different relationships between the material and these distinct forms. The box at the center of the divided forms and in the title, "Stiff Box 12," suggests other thematic content: a kind of Pandora's box idea of chaos and strife springing from the opened container; a contest over possession of an object.
Verso, inscribed in red paint: 67.13; label, c. of base bot.: H. G. OLLENDORFF/FINE ART PACKERS/NEW YORK/LOT NO. [letterpress] 499 [marker, severely faded]/PIECE NO. [letterpress] 37 [marker]; to the r., inscribed in black ink on white circular label: #55
19.53 cm x 42.23 cm x 5.4 cm (7 11/16 in. x 16 5/8 in. x 2 1/8 in.)
Wooden box with a keyhole cut through center of piece encircled with copper-colored paint and two large copper screw-heads on golden-yellow background; the word “KEY” painted in white letters at bottom
Like “Key Box,” many of Tilson’s works are reminiscent of children’s learning games, with bold colors and simple geometric forms. “Key Box” also reveals Tilson’s fascination with the relationship between symbols and words, linking the written word “key” with the representation of a keyhole.