GERHARD RICHTER
DAVID HOCKNEY
A Bigger Book. Art Edition No. 251–500 ‘Untitled, 346’ Edition of 250
Hardcover, 498 pages, 13 fold-outs, 19.7 x 27.5 in., with iPad drawing Untitled, 346, 2010, signed by the artist and numbered, 8-color ink-jet print on cotton-fiber archival paper, 12.9 x 17.3 in. on 17 x 22 in. paper; an adjustable bookstand by Marc Newson; and an illustrated 680-page chronology book
A Bigger Book. Art Edition No. 751–1,000 ‘Untitled, 516’
Edition of 250
Hardcover, 498 pages, 13 fold-outs, 19.7 x 27.5 in., with iPad drawing Untitled, 516, 2010, signed by the artist and numbered, 8-color ink-jet print on cotton-fiber archival paper, 12.9 x 17.3 in. on 17 x 22 in. paper; an adjustable bookstand by Marc Newson; and an illustrated 680-page chronology book
A Bigger Book. Art Edition No. 1–250 ‘Untitled, 329’
Edition of 250
Hardcover, 498 pages, 13 fold-outs, 19.7 x 27.5 in., with iPad drawing Untitled, 329, 2010, signed by the artist and numbered, 8-color ink–jet print on cotton-fiber archival paper, 12.9 x 17.3 in. on 17 x 22 in. paper; an adjustable bookstand by Marc Newson; and an illustrated 680-page chronology book
A Bigger Book. Art Edition No. 501–750 ‘Untitled, 468’
Edition of 250
Hardcover, 498 pages, 13 fold-outs, 19.7 x 27.5 in., with iPad drawing Untitled, 468, 2010, signed by the artist and numbered, 8-color ink-jet print on cotton-fiber archival paper, 12.9 x 17.3 in. on 17 x 22 in. paper; an adjustable bookstand by Marc Newson; and an illustrated 680-page chronology book
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ALEX KATZ
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Alex Katz
Black Dress, 2015
23-37 Color silkscreen on Saunders Waterford 425 gsm paper
203 x 76 cm each
Edition of 35
Portfolio of nine (9) prints
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ERIC BROWN
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Eric Brown
Born 1967, New York, New York
Lives and works in New York City
Education
Master of Divinity, 2020, Union Theological Seminary, New York
Bachelor of Arts, 1990, Vassar College, Poughkeepsie, New York
Solo Exhibitions
2019
Longhand, Theodore: Art, New York
2017
Punctuate, Theodore: Art, New York
2016
Suchness, New Work by Eric Brown, Crush Curatorial Chelsea, New York
2015
Lost and Found, James W. Palmer III Gallery, Vassar College, Poughkeepsie, New York
Vice Versa, Ille Arts, Amagansett, New York
2013
Monday Paintings, Ille Arts, Amagansett, New York
Group Exhibitions
2020
The Many Faces of Bill Arning, Andrew Edlin Gallery, New York
2019
ICYMI, Theodore: Art, New York
2018
Chain Reaction: Artists Select Artists, The Painting Center, New York
Joseph Zito Plus Ten, Lennon Weinberg Gallery, New York
Materiality, Geoffrey Young Gallery, Great Barrington, Massachusetts
2017
American Abstract, Ille Arts, Amagansett, New York
The Edge, Philip Slein Gallery, St. Louis, Missouri
2016
Insomnia, Pelham Art Center, Pelham, New York
Construction Site, McKenzie Fine Art Inc., New York
Territory, Crush Curatorial, Amagansett, New York
Amagansett Art Across the Years, The Jackson Carriage House, Amagansett, New York
Deux Côtés / Two Sides, Part I, Theodore: Art, New York
Deux Côtés / Two Sides, Part II, Galerie Jean Fournier, Paris
2015
Vernacular: Eric Brown, Sharon Butler, Joyce Robins, Andrew Seto, Theodore: Art, New York
Remains To Be Seen, Geoffrey Young Gallery, Great Barrington, Massachusetts
Holiday Hijinks and Tote Modern, Theodore: Art, New York
2014
Holiday Salon, Ille Arts, Amagansett, New York
City as Subject, curated by Peter Xico Greenwald, The Westbeth Gallery, New York
Somatic, curated by George Negroponte, Ille Arts, Amagansett, New York
In the Trade, Washburn Gallery, New York
2013
Holiday Salon, Ille Arts, Amagansett, New York
Silhouette, curated by Bill Carroll, The Elizabeth Foundation for the Arts, New York
Selected Bibliography
Panero, James, “Gallery Chronicle.” The New Criterion, February 2020.
Schwendener, Martha. “What to See Right Now in New York Art Galleries.” The New York Times., January 22, 2020
French, Christopher. “E.L. Brown: Monday Paintings.” ARTnews, December 2013.
Krementz, Jill. “Jill Krementz Covers E.L. Brown’s ‘Monday Paintings.’” New York Social Diary, August 2013
Rogers, Pat. “Last Chance: Somatic Presents Industrial Abstraction at Ille Arts.” Hamptons Art Hub, August 15, 2014
Laster, Paul. “Weekend Edition: 11 Things to Do in New York’s Art World Before June 2.” The New York Observer, May 28, 2015
Goleas, Janet. “Painterly Conversation About Abstraction in ‘Vernacular.”’ Hamptons Art Hub, June 24, 2015.
Landes, Jennifer. “Eric Brown’s Colorful Abstraction on View at Ille Arts.” The East Hampton Star, July 16, 2015.
Goleas, Janet. “Eric Brown Paintings—Authentic Colliding of Geometry and Color.” Hamptons Art Hub, July 18, 2015.
Hodara, Susan. “While You Were Sleeping, They Made Art.” The New York Times, February 12, 2016.
Jessica Mackin. “Gallery Walk.” Independent Newspaper, June 15, 2016.
Landes, Jennifer. “Finding a Local Aesthetic in Abstraction.” The East Hampton Star, June 16, 2016.
Butler, Sharon. “Of Note: Eric Brown, Suchness.” Two Coats of Paint, November 25, 2016.
James Panero, “Gallery Chronicle,” The New Criterion, October 2017.
David Gibson, “Eric Brown@Theodore Art/Bushwick,” The Gibson Report, December 10, 2017.
“On July 4: The Art of Decency,” www.twocoatsofpaint.com, 2018.
Selected Awards and Honors
2018
Cover art, Douglas Crase, Lines From London Terrace: Essays and Addresses, Pressed Wafer
2016
MacDowell Colony Fellowship.
2015
Visiting Scholar and Artist, The American Academy in Rome.
Cover art, Mannahatta, photographs by Roger Arvid Anderson, with poems by Walt Whitman, The Fisher Press, Santa Fe, New Mexico
2014
Cover art, Ken Babstock, On Malice, Coach House Books, Toronto
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JAYE MOON
“A few years ago in New York, I saw Nam June Paik’s 1974 monumental piece, ‘Electronic- Superhighway : Continental U.S., Alaska, Hawaii.’ A neon map of the USA embedded with TV-monitors playing clips from different sources representing the cultural identity of each state. For Kansas, the center of the map and of this piece itself, Paik created a montage of ‘The Wizard of Oz.’ Through this work, Paik illustrated a diverse nation using media technology that would become increasingly prevalent in our society. I was inspired by Paik’s anticipation of a future where communication networks act as a bridge between different people and cultures. The colors in my piece reference the visual vocabulary of the movie: yellow brick road, ruby red shoes, Emerald City, poppy field, etc. By using Braille, I create an opportunity for the work to be experienced not only visually, but also by reading it tactilely.”
Call Me by Your Name, 2019 Lego bricks on plexiglas 120 x 100 in. (304.8 x 254 cm)
“This piece was created as a part of WorldPride/Stonewall 50 in 2019 and was displayed as public art in the Lower East Side. Since this festival was a celebration of LGBTQIA communities, I chose to use the LGBTQIA movie ‘Call Me By Your Name’ to create a mural work. I translated this movie script into English Braille and constructed the translation visually with Lego bricks. The movie script is edited to fit in the site - specific space, but I retained the storyline's flow. I wanted to bring awareness to a language that is often overlooked by people who are not visually impaired. Using Braille to write out the script connects multiple communities in one public place, making it a more intersectional piece. Viewers may be drawn to the colors of the work and the novelty of toys, but what they really find in the code are lives that have historically been hidden. Bricks connect these experiences visually and literally.”
얌마 니 꿈은 뭐니 / Yamma Ni Ggumeun Mwoni / Hey, What’s your dream 2020
Lego bricks on wood
20 x 20 in. (50.8 x 50.8 cm)
“BTS’s song lyrics from ‘No More Dream’ written in Korean Braille number codes. I see a connection between Nam June Paik’s art and BTS’ music. Nam June Paik believed that digital media and communication networks would connect people and culture. BTS actually executed Paik’s vision playing a role as digital natives. I wrote BTS’ lyrics into Braille and converted this to number codes, which resemble binary codes underlying common communication tools.”
I Should Love Myself 2020
Acrylic on wood
16 x 24 in. (40.64 x 60.96 cm)
“Excerpted a line from popular BTS’s song, converted to Braille system in English and then translated to designated colors and painted. “BTS’ ‘Love Myself’ written in Braille patterns. I used Braille as an art medium when I first came to the US in 1991. Experiencing a new culture and using a different language made me realize how frustrating it can be to live and communicate in a new place. I felt like I was trapped in a dark room, unable to see or feel. I wondered if blind people feel this frustration as well, being closed off from many aspects of society.“
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Jaye Moon
Lives and works in New York
EDUCATION
MFA, Sculpture, Pratt Institute, NY
MA, (incomplete), Studio Art, New York University, NY
BA, Sculpture, Sang Myung Women’s University, Korea
SELECTED EXHIBITIONS
2019. Gallery MoMo, Tokyo, Thin Red Line
2018. Marisa Newman Projects, Thin Red Line
2017. Hanmi Gallery, Seoul, Build Up
2015. Brick Lane, Seoul, All in the Gam; Art of Jaye Moon
2015. Gallery MoMo, Tokyo, Play things in Modernism
2014. Gallery MoMo, Tokyo, Breaking the Code
2013. Space Plasma. Seoul, Lunchboxes
2013. Cheongju Creative Studio, Korea, Sangdang Sanseong
2012. Paik Haeyoung Gallery, Seoul, Itaewon Project
2012. Newman Popiasheville Gallery. New York, Breaking the Code
2012. Gallery MoMo, Tokyo. Luminous
SELECTED EXHIBITIONS
Gyunggi Museum of Modern Art, Korea
Memorial Sloan Kettering Hospital Art Collection, NY
Related
WOLF KAHN
Lucy Bump's Barn , 1981
Oil on canvas
24. 25 x 36 in. (61.59 x 91.44 cm)
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MR.
Untitled, 2012
Acrylic on snowboard
Unique
12.5 x 60.5 in. (31.75 x 153.67 cm)
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BEAUFORD DELANEY
Untitled , 1961
Acrylic and water color on paper
26 x 20 in. (66 cm x 50.8 cm)
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NAOMI SAVAGE
![Naomi Savage, Untitled [ice covered three limbs]](https://www.baahng.com/imgs/elementor/thumbs/iced_treeLimb_Naomi_Savage_Baahng-oot1i50wbvcd4w3psrj2xc96sa5917x4442haejzeo.jpg)
Untitled [ice covered three limbs], n.d.
Photograph mounted on board
9.37 x 9.62 in. (23.79 x 24.43 cm)
![Naomi Savage, Untitled [Multi colored gloves]](https://www.baahng.com/imgs/elementor/thumbs/MultiColoGloves_Naomi_Savage_Baahng-oot1i6wkpjexs40zhscc2bs3z1vzgm4ksddg8yh728.jpg)
Untitled [Multi colored gloves], 1993
Photograph with multi colored puffy paint
13.5 x 10.5 in. (34.29 x 26.67 cm)
![Naomi Savage, Untitled [Smiling Marcel Duchamp and Man Ray]](https://www.baahng.com/imgs/elementor/thumbs/smailing_Duchamp_ManRay_Naomi_Savage_Baahng-oot1ianxgvk32jvivtyucatycldgbeji4vze62bmdc.jpg)
Untitled [Smiling Marcel Duchamp and Man Ray], n.d.
Photograph
7.37 x 7.25 in. (18.71 x 18.41 cm)
![Naomi Savage, Untitled [abstract]](https://www.baahng.com/imgs/elementor/thumbs/Abstract_Naomi_Savage_Baahng-oot1i0bpdp5xiuajk7hy2vfvtcseyqegfgt1w0qy9s.jpg)
Untitled [abstract], ca. 1947
Photogram
6 x 6.5 in. (15.24 x 16.51 cm)
![Naomi Savage, Untitled [Marcel Duchamp and Man Ray]](https://www.baahng.com/imgs/elementor/thumbs/Duchamp_ManRay_Naomi_Savage_Baahng-oot1i27drd8i627t98b77uyt04j5e4lx3q40uko5xc.jpg)
Untitled [Marcel Duchamp and Man Ray], n.d.
Photograph
7.25 x 7.37 in. (18.41 x 18.71 cm)
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Naomi Savage, photographer, born June 25, 1927 and died at her home in Princeton, New Jersey, on November 22, 2005. While still in high school, she took a class in photography at the New School for Social Research with Berenice Abbott. Some twenty years earlier, Abbott had studied photography in Paris with Man Ray, who was Naomi Savage’s uncle. In 1946, Savage enrolled in Bennington College, where she studied art and music, but before graduating, left to be an apprentice for Man Ray in Hollywood. He taught her that photography was above all a creative process, one of many tools that could be used for the purpose of visual expression. When she returned to New York in 1948, she combined her love of music with her skill in photography by taking portraits of the best known composers of day: Aaron Copland, John Cage, Virgil Thomson, etc. (over 30 in all). Throughout her career, she experimented with the medium of photography, continuously inventing new and highly original techniques. Perhaps her best known work is a series of metal photo engravings (1972) dominating the walls of the LBJ Library in Austin, Texas. In her later years, she became attracted to the enormous potential of digital imagery, experimenting with various methods to manipulate and enhance color, even using new and unconventional materials for laser printing. She exhibited widely, most recently at the Montclair Art Museum, and her photographs are included in major institutional collections throughout the United States……………..provided by Francis M. Naumann.
Francis M. Naumann is an art historian, who specializes in art of the Dada and Surrealist period. He has written extensively on the art of Marcel Duchamp and Man Ray. His New York Dada 1915-23 (1994) is considered the definitive history of the movement, and his “Making Mischief: Dada Invades New York” (1996) is the most comprehensive exhibition on the subject ever assembled. His doctoral dissertation was on Man Ray’s early years in New York, later published as Conversion to Modernism: The Early Work of Man Ray (2003). Throughout his years of his research on Man Ray, he met Naomi Savage and, over the years, they became good friends.
Related:
![Naomi Savage, Artists All [Duchamp/Man Ray/David Savage]](https://www.baahng.com/imgs/elementor/thumbs/DuchampManRaySavage_Naomi_Savage_Baahng-oorc12ufh7tw80p3innmwaqwug1fbr80uhahqdvr40.jpg)
MAN RAY
Untitled (Knotts Berry Farm, Buena Park), ca. 1940-49
gelatin silver print
9.9 x 7.4 in. (25 x 18.9 cm)
Untitled (Knotts Berry Farm, Buena Park), ca. 1940-49
gelatin silver print
10 x 7.75 in. (25.4 x 19.7 cm)
Untitled (Los Angeles Memorial Coliseum), ca. 1941
gelatin silver print
9.75 x 7.75 in. (24.8 x 19.7 cm)
Mathematical Object (Anthony), 1934-35
gelatin silver print
11.5 x 9.25 in. (29 x 23.5 cm)
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Painter, sculptor, photographer, filmmaker, draftsman…Man Ray has never limited himself to a single medium of artistic expression, tirelessly seeking new possibilities of creation or diversion of existing techniques. Considering art essentially as a game, he refused to attach himself to a determined style. Man Ray was born in 1980 in Philadelphia. In 1913, he discovered at the exhibition The Armory Show in New York European artists like Marcel Duchamp and Francis Picabia. With Marcel Duchamp he created and experimented with optical devices to study motion. He participated in the Dada movement in New york until 1921, when he left for France. As he arrived in Paris, Marcel Duchamp introduced him to the Parisian artistic scene. It was the beginning of an intense period of creation: photographs (fashion, portraits, art), exhibitions, films…In the interwar period Paris, Man Ray frequents all the greatest actors of creation, Dadaists, Surrealists, writers, filmmakers, fashion designers…In 1940, Man Ray had to leave France for the United States, where he realized major works like the Shakespearian paintings, etc. Man Ray returned to Paris in 1951, moved to rue Ferou where he painted, drew, wrote his memoirs and continued to use photographic processes. Thus begins the edition of his objects “Objects of my affection” first with Marcel Zerbib, then with Arturo Schwarz. Man Ray died on November 18, 1976 in Paris. He is buried in the Montparnasse cemetery.
…………………………………………. excerpt from Man Ray International Association
Mathematical Object (Anthony) is one of some twenty photographs taken by Man Ray in 1934-35 of mathematical models located in the Institut Poincaré in Paris. Twelve of the photographs were featured in a 1936 issue of the journal Cahiers d’Art devoted to the “object” and four were exhibited in MoMA’s exhibition the same year, Fantastic Art, Dada, Surrealism. The models were drawn to his attention by Max Ernst, who had discovered them and thought them exceptionally provocative, surreal shapes. The models were used to render complex mathematical formulae into three-dimensional form, but it was not their origin in mathematics that attracted the interests of Man Ray. “The formulas accompanying them meant nothing to me,” he later explained, “the forms themselves were as varied and authentic as any in nature” (Self-Portrait, 1963, p. 368). While living in Hollywood, California, in the 1940s, Man Ray used the photographs he had taken in the Institut Poincaré as the basis of a series of pictures that he grouped under the title “The Shakespearean Equations,” which, in true Dada and Surrealist fashion, had as little to do with Shakespeare as they did with equations. Man Ray retrieved the photographs he had printed in the 1930s on a trip back to Paris in 1947, and this example is believed to be among them. This particular print is often titled Antony, as we know that it was used as the basis for the figure of Anthony in his painting Antony and Cleopatra, 1948.
