627 results for "jeff koons"

This exquisite lithograph after Francis Bacon (1909–1992), titled Study for Portrait of Lucian Freud, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published b...

"Br'er Rabbit in Kinkadeland" features white and purple hues. Richard Thomas Scott is inspired by the work of Rembrandt, Andrew Wyeth, and Vermeer...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite lithograph by Salvador Dali (1904–1989), titled Les Chimeres (The Visions), from the folio Pages choisies de Don Quichotte de la Manche (Selected Pages of Don Quixote ...

This exquisite lithograph by Salvador Dali (1904–1989), titled Les Outres du Vin (The Wine Skins), from the folio Pages choisies de Don Quichotte de la Manche (Selected Pages of Don ...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite lithograph after Francis Bacon (1909–1992), titled Study for Portrait of Lucian Freud, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published b...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sabot (Clog), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeur, Pari...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...

This exquisite zincograph by Pablo Picasso (1881–1973), titled Danseuse (Dancer), from the album Le Chevre-Feuille (The Honeysuckle), originates from the 1943 edition published by Ro...

Hand-cut vinyl applied to Perspex panel. The 5th in a new series of artworks focusing on British seaside towns. I have longed to capture my own take on this theme, where even the mos...

This laser cut acrylic series of Scribble Sculptures is inspired by the gestures and quick mark making found in abstract expressionist painting and drawing, and the whimsical, bold color and shape found in classic cartoon. Ryan Coleman...

Polychrome Gel #11 is an oil painting on canvas with a canvas size of 18 x 24 inches, signed, titled and dated on the overlap verso, 'Ben Weiner Polychrome Gel #11 2019'' and framed in a contemporary white frame. Connecting two opposing styles—abstraction and photorealism—Ben Weiner creates hyper-detailed, lush paintings and videos of extremely magnified consumer products, including hair gel, chemical food additives, and deodorant. In his work, he presents such meticulously rendered, close-up views of his subjects that they read as pure abstractions. A through-line in Weiner’s various bodies of work is contemporary culture’s obsession with bodily enhancement through chemical products—whether by using hair products or taking illegal drugs. "The Gel Series presents a virtual environment that is in flux. Based on hair gel, a material that is physically malleable and visually enticing, it has the ability to change one’s physical appearance. In an abstract manner, the painting reflects our current global environment, subject to constant, dramatic change and rapid development- on the one hand through humanity’s ability to alter the face of the earth according to its ideas; on the other through changing environmental conditions and natural disasters". - Ben Weiner Ben Charles Weiner (b. 1980) is a New York based contemporary artist. His work bridges the seemingly opposite styles of hyperrealism, and process-based abstraction. Mr. Weiner has exhibited his work widely in the US and internationally, at institutions including The Carnegie Art Museum, The Aldrich Contemporary Art Museum, The Boca Raton Museum of Art, and The Tarble Art Center. His work is in public collections including Microsoft, Sammlung/Collection, Progressive Insurance, and The Frederick R. Weisman Collection...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite lithograph by Alexander Calder (1898–1976), titled Tamanoir (Anteater), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeu...

60x84cm (without frame) Hand-cut vinyl applied to Perspex panel. The 5th in a new series of artworks focusing on British seaside towns. I have longed to capture my own take on this t...

1959: Surrealist painter Salvador Dali (1904 - 1989) with a red-haired woman in a green dress at a vintage ball in New York. The artist is captured with his characteristic walking st...

Fred Fehlau is an American a Postwar & Contemporary artist. He was born in 1958. Known for his sculpture. EDUCATION ArtCenter College of Design MFA, with Honors 1986–1988 ArtCenter College of Design BFA, with Distinction 1976–1979 Educational Management Program Harvard Graduate School of Education, 2011 Selected Exhibitions: 2014 The Avant-Guard Collection, Orange County Museum of Art, Newport Beach, CA. Curated by Dan Cameron and Fatima Manalili. 2003 The Spirit of White, Beyeler Gallery, Basel, Switzerland. Curated by Urs Albrecht. 2000 New Acquisitions...

Peter Halley Prison 30, 1995 Original graphite drawing on paper Pencil signed on the on the front. Titled and dated on the back This unique work on paper was created by Peter Halley...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Ovale et rectangle (Oval and Rectangle), originates from the historic 1964 folio Derriere le Miroir, No. 149. Publish...

Andy Warhol Jean-Michel Basquiat Bearbrick Figure: (1000%): A unique, timeless & well-sized Warhol Basquiat statue figure (27 in heigh), trademarked & licensed by the Estates of Jea...

Stephen Talasnik Untitled sculpture, from the collection of Dick Polich, Tallix Foundry, ca. 1997 Cast light metal signed by the artist on the work (see close up photograph) 6 3/5 × 12 × 4 inches Provenance Estate of Dick Polich, founder of the legendary Tallix Foundry and Polich Art works Beacon, NY Manufacturer Stephen Talasnik at Tallix Foundry, Beacon, New York This work is signed by the artist (see close up photograh) Abstract metal sculpture The work is lightweight so it is believed to be in aluminum or an aluminum alloy, Provenance: acquired from the Estate of Dick Polich - founder of the legendary Tallix foundry and Polich Art Works. Polich and Tallix fabricated significant sculptural works over many years, collaborating with such as, Willem de Kooning, Jeff Koons, Roy Lichtenstein, Frank Stella, Helen Frankenthaler, ERTE, Julian Schnabel, Richard Artschwager, Isamu Noguchi, Isaac Witkin...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Triangles (The Triangles), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Mae...

Peter Halley Prison 14, 1995 Graphite pencil and ink drawing on paper. Hand signed. Titled. Dated. Framed. Hand signed on lower right front corner Unique Frame included Unique earli...

This exquisite lithograph by Joan Miro (1893–1983), titled L'Astre Patagon (The Patagonian Star), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. L'Astre Patagon embodies Miro's signature dreamlike abstraction—an interplay of cosmic forms, floating symbols, and lyrical color. This composition radiates the artist’s boundless imagination and his poetic dialogue between the material and the celestial. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Unsigned and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, capturing Miro’s visual rhythm and surreal energy in a strikingly balanced composition. Artwork Details: Artist: Joan Miro (1893–1983) Title: L'Astre Patagon (The Patagonian Star), from Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), 1960 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Date: 1960 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne des Livres Illustres. P. Cramer, 1989, illustration 62. Miro, Joan. Joan Miro, Lithographe / II, 1953–1963. Preface by Raymond Queneau. Maeght, 1975, illustration 265 Condition: Well preserved, consistent with age and medium Provenance: From the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), published by Maeght Editeur, Paris About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, and ceramicist whose imaginative, dreamlike vision helped spearhead the Surrealist movement and left an indelible mark on modern art. Born in Barcelona and deeply rooted in Catalan culture, Miro moved to Paris in the early 1920s where his playful shapes, cosmic motifs, and childlike yet sophisticated abstractions broke new ground alongside the great innovators of his time. His artistic dialogue aligned with contemporaries such as Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Jackson Pollock, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom challenged the conventions of form, color, and symbolism. Miro distilled these ideas into a uniquely poetic visual vocabulary—birds, stars, and bold spectral forms emerging from flat planes of color—that has inspired scores of artists and continues to influence modern and contemporary masters including Banksy, Damien Hirst, Jeff Koons, Andy Warhol, and Jasper Johns. His works are represented in leading museums worldwide, including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, and remain highly sought after by collectors. The highest price ever paid for a Joan Miro artwork is approximately $37.06 million USD, achieved in June 2012 at Sotheby’s London for Peinture (Etoile Bleue) (1927). Joan Miro L'Astre Patagon, Miro Derriere le Miroir, Miro Maeght Editeur Paris, Miro Mourlot Freres, Miro 1960...

This exquisite lithograph by Alexander Calder (1898–1976), titled La lune et porc qui pique (The Moon and the Prickly Pig), originates from the historic 1963 folio Derriere le Miroir...

This exquisite lithograph by Salvador Dali (1904–1989), titled Don Quichotte en lecteur dans sa chambre (Don Quixote Reading in His Room), from the folio Pages choisies de Don Quicho...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio De memoire d'homme (In living memory), originates from the 1950 edition published...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite lithograph by Alexander Calder (1898–1976), titled Spirales et eclats de soleil (Spirals and Sunbursts), originates from the historic 1973 folio Derriere le Miroir, No...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio De memoire d'homme (In living memory), originates from the 1950 edition published...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite lithograph by Alexander Calder (1898–1976), titled Joueurs de cartes II (Card Players II), originates from the historic 1975 folio Derriere le Miroir, No. 212. Publish...

Offset lithograph in colors on smooth wove paper. Hand signed lower right by Takashi Murakami. Hand numbered 142/300 lower right. Published by Kaikai Kiki Co., Ltd., Tokyo. Artwo...

This exquisite lithograph by Alexander Calder (1898–1976), titled Mama Citron, originates from the historic 1975 folio Derriere le Miroir, No. 212. Published by Maeght Editeur, Paris...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio De memoire d'homme (In living memory), originates from the 1950 edition published...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless s...

This exquisite lithograph by Alexander Calder (1898–1976), titled Une famille de là-bas II (A Family from Over There II), originates from the historic 1975 folio Derriere le Miroir, ...

Reflection Pearls II is an oil painting on prepared paper, sheet size 29.75 x 41.25 inches, signed, titled and dated verso, 'Ben Weiner Reflection Pearls II 2019' and framed in a contemporary white frame. Connecting two opposing styles—abstraction and photorealism—Ben Weiner creates hyper-detailed, lush paintings and videos of extremely magnified consumer products, including hair gel, chemical food additives, and deodorant. In his work, he presents such meticulously rendered, close-up views of his subjects that they read as pure abstractions. A through-line in Weiner’s various bodies of work is contemporary culture’s obsession with bodily enhancement through chemical products—whether by using hair products or taking illegal drugs. "My paintings of pearls and hair gel merge varied notions of art as creation with biological and mythological concepts of creation. Visually, the pearls seem to emerge from the hair gel, suggesting biological processes such as cellular division, or the primordial soup that preceded life on earth. The all-over, abstract qualities of the hair gel recall the abstract expressionists’ concepts of the sublime art object and art as a transcendent act of creation. Additionally, the pearl itself is a naturally produced object of profound beauty. I use it to symbolize my understanding of creation as a feminine power, intrinsically linked to beauty (as in Boticelli’s The Birth of Venus). Finally, the pearls are an ode to Audrey Flack, one of my early artistic influences." - Ben Weiner Ben Charles Weiner (b. 1980) is a New York based contemporary artist. His work bridges the seemingly opposite styles of hyperrealism, and process-based abstraction. Mr. Weiner has exhibited his work widely in the US and internationally, at institutions including The Carnegie Art Museum, The Aldrich Contemporary Art Museum, The Boca Raton Museum of Art, and The Tarble Art Center. His work is in public collections including Microsoft, Sammlung/Collection, Progressive Insurance, and The Frederick R. Weisman Collection...

Kevin Larmon, (American, b. 1955), 1985-1986, oil on canvas; hand signed, titled, and dated on the reverse Provenance: bear a Curt Marcos Gallery label verso This is one of a pair we are offering for sale Kevin Larmon (1955-) is an American artist and was assistant monitor of painting at Syracuse University. Kevin Larmon was born in Syracuse, New York in 1955. He grew up on a small horse farm. Larmon's mother was a school secretary while his father was a construction worker. He graduated from Binghamton University with a Bachelor of Fine Arts degree and moved to New York City as an undergraduate senior, where he finished his schooling at the New York Studio School. In the late 1970s, Larmon played guitar for Mudmen, a three piece band in the East Village of New York City with Craig Gillis playing bass, Mike Caffes playing drums, and percussionist Jill Burkhart. Mudmen played in venues such as CBGB, Danceteria, A7 (bar), Pyramid Club, Mudd Club, and The Limelight. Larmon started making still life paintings in 1979. He has also worked with atmospheric drawings and paintings since 1989, many of which are made on canvas or wood. In 2009, he began to paint his cell paintings. Larmon's paintings are built up through layers of collage and paint. Most famously, Larmon's work includes collages of gay male pornography that have been painted over with images that exist somewhere in between abstraction and form. These images are often anatomical. Conceptually, Larmon's work deals with issues such as the male body image and fascist culture. Similarly, Larmon's drawings on wood deal with ambiguously anatomical and abstracted forms. His work has been associated with the post-conceptualism and neo-conceptual art movements, which were prominent aspects of exhibitions at Gallery Nature Morte and with Tricia Collins and Richard Milazzo shaping the nature of painting after the rise of conceptual art. Larmon was also associated with Feature Inc., a gallery that was first established in Chicago in 1984. In August 1988, the gallery's director, known as Hudson, moved Feature Inc. to New York City. Larmon's first exhibition with Feature Inc. occurred in 1987 in Chicago, Illinois. Over the years, Hudson and Larmon would work together on many exhibitions. As a young artist, Larmon spent his Thursdays working to sustain Gallery Nature Morte together with the gallery owners, Alan Becher and Peter Nagy, when the gallery existed in New York City. Larmon was heavily influenced by his contemporaries at Gallery Nature Morte such as Robin Weglinski, Joel Otterson, and Steven Parrino. Other influential artists include Oliver Wasow, Robert Gober, Nancy Shaver, Carter Hodgkin, and Steven Wolfe. Larmon also drew inspiration from Rembrandt, Giorgio Morandi, Jackson Pollock, and Agnes Martin. During his time as a professor at Syracuse University, Larmon made an impact on many emerging artists including Deborah Roberts and Paul Weiner. Larmon participated in Aperto 86 at the 1986 Venice Biennale in Venice, Italy, where his paintings were exhibited at the Corderie at the Arsenal. From 1983–2013, Larmon was invited to exhibit in the Metropolitan Museum of Art, New York, New York; Feature Inc, New York, New York; Phoenix Art Museum, Phoenix, Arizona; the University Art Museum at the University of California, Berkeley; the Aldrich Contemporary Art Museum, Ridgefield, Connecticut; Weatherspoon Art Museum at the University of North Carolina, Chapel Hill, North Carolina; Visual Arts Museum, New York, New York; the Morris Museum, Morristown, New Jersey; Cleveland Center for Contemporary Art, now the Museum of Contemporary Art Cleveland, Cleveland, Ohio; Aspen Art Museum, Aspen, Colorado; Jersey City Museum, Jersey City, New Jersey; and the Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts. In 2013, Larmon was included in a group show at the Leslie Sacks Gallery in Los Angeles, California alongside artists Christo, Jim Dine, Pablo Picasso, Chuck Close, Howard Hodgkin, Jasper Johns, Marino Marini, Henri Matisse, Karel Nel, Sam Francis, Helen Frankenthaler, David Hockney, Robert Rauschenberg, and Sebastião Salgado. Exhibitions curated by Tricia Collins and Richard Milazzo Still Life With Transaction: Former Objects, New Moral Arrangements, and the History of Surfaces took place at International with Monument in New York from March 28 – April 21, 1984. Larmon was accompanied by artists Alice Albert, Ericka Beckman, Alan Belcher, Ross Bleckner, Barry Bridgwood, Sarah Charlesworth, Wendy Galavitz, Judy Geib, Jim Jacobs, Stephen Lack, Andrew Masullo, Peter McCaffrey, Jan Mohlman, Peter Nadin, Peter Nagy, Joel Otterson, Richard Prince, Steven Parrino, Tyler Turkle, and Laurie Simmons. Natural Genre: From the Neutral Subject to the Hypothesis of World Objects took place at Florida State University Gallery & Museum in Tallahassee, Florida from Aug. 31-Sept. 30, 1984. Larmon was accompanied by artists Jane Bauman, Ericka Beckman, Alan Belcher, Gretchen Bender, Ross Bleckner, Tom Brazleton, Barry Bridgwood, Sarah Charlesworth, Carroll Dunham, Robert Garratt, Mark Innerst, Louise Lawler, Allan McCollum, Peter Nadin, Peter Nagy, Joseph Nechvatal, Steven Parrino, Louis Renzoni, Meyer Vaisman, Oliver Wasow, James Welling, David Wojnarowicz, Michael Zwack. Still Life With Transaction II: Former Objects, New Moral Arrangements, and the History of Surfaces took place at Galerie Jurka in Amsterdam during November 1984. Larmon was accompanied by artists Alice Albert, Ericka Beckman, Alan Belcher, Ross Bleckner, Barry Bridgwood, Sarah Charlesworth, Wendy Galavitz, Judy Geib, Jim Jacobs, Stephen Lack, Peter McCaffrey, Peter Nadin, Peter Nagy, Joel Otterson, Richard Prince, Laurie Simmons, Tyler Turkle, Meyer Vaisman, and Oliver Wasow. Final Love took place at the C.A.S.H./Newhouse Gallery in New York from March 15 – April 14, 1985. Larmon was accompanied by artists Ross Bleckner, Peter Halley, Jonathan Lasker, Allan McCollum, Olivier Mosset, Peter Nadin, Bonnie Nielson, Meyer Vaisman, Wallace & Donohue, James Welling, and Stephen Westfall. Cult and Decorum took place at Tibor De Nagy Gallery in New York from December 7, 1985 – January 4, 1986. Larmon was accompanied by artists Ross Bleckner, Sarah Charlesworth, David Diao, Peter Halley, Jeff Koons, Jonathan Lasker, Peter Nadin, Joel Otterson, Ricardo Regazzoni, Robin Rose, Laurie Simmons, Haim Steinbach, Gary Stephan, Philip Taaffe, and Meyer Vaisman. Modern Sleep took place at American Fine Arts Co. in New York from October 17 – November 16, 1986. Larmon was accompanied by artists Saint Clair Cemin, John Dogg, Tishan Hsu, Jonathan Lasker, Annette Lemieux, Olivier Mosset, Joel Otterson, and Jeffrey Plate. Art at the End of the Social took place at The Rooseum in Malmö, Sweden from July – October, 1988. Larmon was accompanied by artists Donald Baechler, Ford Beckman, Gretchen Bender, Ross Bleckner, David Carrino, Lawrence Carroll, Saint Clair Cemin, Sarah Charlesworth, Charles Clough, David Diao, John Dogg, Suzan Etkin, Peter Fend, Robert Gober, Peter Halley, Claudia Hart, Tishan Hsu, Jon Kessler, Jeff Koons, Jonathan Lasker, Annette Lemieux, Allan McCollum, Peter Nadin, Peter Nagy, Joseph Nechvatal, Joel Otterson, Richard Prince, Holt Quentel, Sal Scarpitta, Nancy Shaver, Haim Steinbach, Gary Stephan, Philip Taaffe, Tyler Turkle, Meg Webster, and James Welling. Exhibitions at Feature Inc. Head Sex took place at Feature Inc. in Chicago, Illinois from July 7 - August 7, 1987. Larmon was accompanied by artists Kathe Burkhart, General Idea, Mike Kelley, Lillian Mulero, Raymond Pettibon, Johnny Pixchure, Richard Prince, Kay Rosen, Rene Santos, and Kevin Wolff. Strung Into the Apollonian Dream... took place at Feature Inc. in New York, New York from January 20 - February 24, 1995. Larmon was accompanied by artists Michael Banicki, Nancy Chunn, Tom Friedman, Felix Gonzalez-Torres, Jenny Holzer, Peter Huttinger, Mike Kelley, Louise Lawler, Sherrie Levine, Allan McCollum, David Moreno, Hirsch Perlman, Raymond Pettibon, Adrian Piper, Richard Prince, David Robbins, Rene Santos, Nancy Shaver, Jim Shaw, Cindy Sherman, Elaine Sturtevant, Tony Tasset, James Welling, Kevin Wolff, and B. Wurtz. I Gaze a Gazely Stare took place at Feature Inc. in New York, New York from March 9 - April 14, 1995. Larmon was accompanied by Jeanne Dunning, Robert Flack, Jason Fox, Tom Friedman, Jim Isermann, Pruitt-Early, Brett Reichman, Richard Rezac, David Robbins, and Nancy Shaver. THOUGHTS took place at Feature Inc. in New York, New York from April 14 – May 19, 2007. Larmon was accompanied by Pam Golden, Jonathan Heartshorn, Andrew Masullo, Tracy Miller, Travis Molkenbur, David Moreno, Oren Slor, the unnameable, and Tyler Vlahovich. Tom of Finland and then Some took place at Feature Inc. in New York, New York from June 25 - July 31, 2010. Larmon was accompanied by Tom of Finland, Richard Kern, Judy Linn, Bastille, Jerry Phillips, Martin of Holland, Joe Brainard, Fred Esher, Larry Clark, Robert W. Richards and Brian Kenny, Sean Landers, Richard Prince, Robert Fontanelli, GB Jones, Jeff Burton, Mie Yim, Raymond Pettibon, Catherine Opie, Carl Ferrero, Jared Buckhiester, Judy Rifka, Jeffrey Pittu, Scooter Laforge, The Hun, Tyler Ingolia, David Frye, Kinke Kooi, Juan Gomez, Rex, and Gengoroh Tagame...

This exquisite engraving by Pablo Picasso (1881–1973), titled Mort d'un faune (Death of a Faun), from Deux Contes, Le Centaure picador, Le Crepuscule d'un faune (Two Tales, The Centa...

This exquisite lithograph by Alexander Calder (1898–1976), titled Un Patriote (A Patriot), originates from the historic 1975 folio Derriere le Miroir, No. 212. Published by Maeght Ed...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless s...

This exquisite lithograph by Joan Miro (1893–1983), titled Hommage a Aime Maeght (Tribute to Aime Maeght), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommag...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...

This exquisite lithograph by Alexander Calder (1898–1976), titled Porc qui pique (Prickly Pig), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeg...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. She creates lively and childlike characters, finding inspiration in the works of early Italian Renaissance masters such as Fra Angelico. Wilson graduated from Wellesley College in 1991, and pursued her education in Florence. She received her MFA at New York Academy of Art, and later worked as a painting assistant to Jeff Koons for two years. This current series employs the toile wallpaper samples that the artist had lying around her house during lockdown as a backdrop for ambiguous and complicated feelings toward quarantine and domestic confinement. In this work, she is hoping to narrate how fear of the pandemic unknown, coupled with household anxieties, and increased self-awareness contributed to the mixed emotions of security and hostility towards enforced domesticity within a masked world. The toile tradition represented a coincidental parallel with the COVID era rediscovery of old-fashioned pastoral lifestyles, and the embrace of self-reliant artisanal practices like cooking, gardening, sewing, and prescribed homeschooling. Her colorful inscriptions, some original, some appropriated, layer in our contemporary lifestyle, our modern methods of connectivity as well as our high-tech world. The punky playfulness of the neon and fluorescents contrasts with the backdrop of Fragonard-esque imagery and hopes to delivery her messages of love and connection, awareness and newness, hope and emotions, as well as the occasional glossily veiled hostility expressed in certain so-called “love” declarations. The phrases evolved from a previous series addressing the Me Too movement...

Loren Munk (American, b. 1951), mixed media painting "Romulus & Remus", signed "Munk '89", 13" x 19" inches sheet, framed 20.25" x 26" inches. In Roman mythology, Romulus and Remus are twin brothers whose story tells the events that led to the founding of the city of Rome and the Roman Kingdom by Romulus. The killing of Remus by his brother, and other tales from their story, have inspired artists throughout the ages. Since ancient times, the image of the twins being suckled by a she-wolf (dog) has been a symbol of the city of Rome and the ancient Romans. The artist Loren Munk (born 1951) is primarily known for his YouTube nickname James Kalm as an uploader of videos about New York exhibitions, amongst others. He presents himself as a maker of contemporary paintings for several decades and of cubist paintings of urban imagery. Munk has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner in which he incorporates glass into his decorative paintings. His unique and innovative use of materials such as mirror, gold-leaf and glass mosaic affirmed him as a founding force of Kitsch Art and a leading member of New York Neo-Expressionism. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Munk documents the New York art world in YouTube videos, using the name James Kalm. Timeline: 1979 Attended Art Students League, New York 1973-75 Attended University of Maryland at Ramstein, Germany while in US Army 1969-72 Attended Idaho State University, Pocatello, Idaho 1951 Born, Salt Lake City, Utah Select Group Exhibitions 2018 “Under Erasure” curated by Heather and Raphael Rubinstein at Pierogi Gallery New York 2016 "It Was Never Linear: Recent Painting" at the Sheldon Museum of Art Lincoln Neb. with: Robert Bordo, Dawn Clements, Lois Dodd, Michelle Grabner, Colin Prahl, Peter Saul, Barbara Takenaga, and Stanley Whitney 2014 "Some Artists" curated by Matthew Deleget at Minus Space. David Diao, Mary Beth Edelson, Alfred Jensen, George Maciunas, Loren Munk, Ward Shelley, John Zinsser 2013 "Coming Together: Surviving Sandy Year 1" curated by Phong Bui for the Dedalus Foundation, "The Decline and Fall of the Art World: Part I" curated by Nick Lawrence at Freight+Volume, N.Y. "Reticulate" at McKenzie Fine Art Inc., N.Y. "The Pyramids Along the Nile" at English Kills Gallery 2012 "When We Were Ancient" organized by Ethan Petitt at Teddy's Bar, Williamsburg "Heroes" curated by Julie Torres at Small Black Door, Ridgewood Queens, N.Y. 2011 "ABC123" curated by Janet Goleas at Eric Firestone Gallery, East Hampton, N.Y. "6 Who Paint" curated by Fred Valentine at Big & Small/Casual, Long Island City, N.Y. "It's All Good: Apocalypse Now" curated by Richard Timperio, Side Show Gallery, Brooklyn, N.Y. "Paper 2011" at Janet Kurnatowski Gallery, Brooklyn. "NEW year NEW work NEW faces" by Jason Andrew and Deborah Brown at Storefront Gallery. "Unfinished Pictures" curated by Kristin Calabrese...

This exquisite lithograph by Alexander Calder (1898–1976), titled La lune (The Moon), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeur...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Episodes de la vie du faune (Episodes from the Life of a Faun), from Dos Contes, El centaure, picador, El capvespre d'un...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless s...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Trois panneaux (noir) (Three Panels [Black]), originates from the historic 1964 folio Derriere le Miroir, No. 149. Pu...

This exquisite lithograph by Salvador Dali (1904–1989), titled L'aurore (The Dawn), from the folio Pages choisies de Don Quichotte de la Manche (Selected Pages of Don Quixote of La M...