THE DRAWING CENTER 2018 BENEFIT AUCTION CATALOGUE
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The Drawing Center 2018 Benefit Auction CATALOGUE
October 1, 2018
6:30–8:00PM
Cocktails +
Silent Auction
35 Wooster Street
NYC
Click here to purchase tickets
IF you are unable to attend the event
but would like to make Absentee bids,
please contact:
Alison Hyland
ahyland@drawingcenter.org
or
212.219.2166 x216
CO-CHAIRS
Andrea Crane
Amy Gold
Benefit Committee
Anton Kern Gallery
CANADA
Casey Kaplan
Cheim & Read
Cincala Art Advisory
Andrea Crane + Sam Hoffman
David Lewis Gallery
Ellsworth Kelly Foundation
Amy Gold + Brett Gorvy
Katherine Goldsmith
Jay Grimm + Emily-Jane Kirwan
Agnes Gund
Bree Jeppson + James Bassett
Kiki Kogelnik Foundation
Rhiannon Kubicka + Theodore Blackston
Lévy Gorvy
Podie Lynch
Magenta Plains Gallery
Miles McEnery Gallery
Mitchell-Innes & Nash
Nara Roesler
Paula Cooper Gallery
Rachel Uffner Gallery
Fiona + Eric Rudin
Ed Ruscha
Jane Dresner Sadaka + Ned Sadaka
Lisa Silver + Jean-Christophe Castelli
Galia Meiri Stawski + Axel Stawski
The Straus Family Fund
Taymour Grahne
Cristin Tierney
Barbara Toll
Isabel Stainow Wilcox
Candace Worth
SPONSORS
Participating Artists
Ghada Amer and Reza Farkhondeh
Nadia Ayari
Katherine Bernhardt
Maria Berrio
Lisa Blas
Cecily Brown
Zach Bruder
Dan Colen
N. DasH
Robert Davis
Lucy Dodd
Torkwase Dyson
Robert Otto Epstein
Eugenio Espinoza
Edie Fake
Amy Feldman
Derek Fordjour
Isca Greenfield-Sanders
Ellen Harvey
Susan Hefuna
Allison Hill-Edgar
Binna Kim
Kiki Kogelnik
Mateo LÓpez
Brigitte Mahlknecht
Billy Martin
Chris Martin
Eddie Martinez
Peter Matthews
Ryan McGinness
Ebecho Muslimova
Eduardo Navarro
Claes Oldenburg
Kirstine Roepstorff
Curtis Talwst Santiago
Olympia Scarry
David Scher
Philip Taaffe
Dannielle Tegeder
Kyle Thurman
Charline von Heyl
Chuck Webster
Terry Winters
Susan York
Photography by Martin Parsekian
ARTWORK
Nadia Ayari
Untitled (Fountain), 2016
Ink on Paper
Ghada Amer and Reza Farkhondeh 22 x 22 inches
Courtesy of the artist and Taymour Grahne
Snowy White Heart, 2009
Intaglio, Edition 65/84 Retail Value: $1,500.00
29 ¼ x 22 ¾ inches Opening Bid: $700.00
Courtesy of the artist and Cheim & Read, New York
BIO: New York based painter Nadia Ayari (b. 1981, Tunis, Tunisia) has spent the past
Retail Value: $5,000.00 decade building up a cast of creatures to star in her abstract narratives. In each of these
Opening Bid: $5,000.00 loose narratives, objects play the role of protagonists. Figs, trees, blood, fingers, tongues,
and anthropomorphic eyeballs exude personality, changing state from image to image.
BIO: Under the acronym RFGA, Reza Farkhondeh (b. Iran) and Ghada Amer (b. 1963, Cairo) Placed in relationship to one another and their environments, Ayari’s characters take on
have been producing collaborative mixed media artworks since the early 2000s. The fusion of their political significance. Personality, humor, and gore mingle in her work, serving as psycho-
creative visions results in synergetic works on paper that explore female bodies, human fragility, and social reflections for the artist.
beauty in the natural world. Operating out of their respective studios, the pair exchanges unfinished
works, and each adds elements from their individual art practice before the work is finished. Since 2008, Ayari has participated in numerous international shows and biennales,
including the 12th Cairo International Biennale and the 3rd Thessaloniki Biennale, for
Exhibitions of RFGA’s work have been presented at The Brooklyn Museum; Goodman Gallery, which she represented the United States. Ayari has shown solo exhibitions at Luce, Turin;
Johannesburg; Tina Kim Fine Arts, New York; Kukje Gallery, Seoul; Singapore Tyler Print Institute, Monya Rowe, New York; The Third Line, Dubai; Taymour Grahne, New York; Untitled,
Singapore; Kreëmart, New York; and Pace Prints, New York. 10 Miami Beach; and Art Dubai Projects. 11
Katherine Bernhardt Maria Berrio
Untitled, 2018 Dawn, 2018
Acrylic and water color on paper Collage on okawara paper and charcoal
17 x 7 ½ inches 36 x 25 inches
Courtesy of CANADA and the artist Courtesy of the artist
Retail Value: $3,200 Retail Value: $6,000
Opening Bid: $1,000 Opening Bid: $1,500
BIO: Brooklyn-based painter Katherine Bernhardt (b. 1975, St. Louis, MO) creates BIO: The ornate collages created by Maria Berrio (b. 1982, Bogotá, Colombia) often
intuitively-designed canvases that playfully present caricatures of consumer products. place women within fantastical cities, forests, mountainscapes, and fields. Layering deli-
Pizza slices, cassette tapes, hamburgers, cell phones, hunks of watermelon, and other cate Japanese papers on her canvases, Berrio develops intoxicating scenes that com-
indulgences populate her works. Choosing to paint images that emerge from her cre- bine the strong female archetypes of South American folklore with a personal mythology
ative process rather than planned still lifes, Bernhardt has developed a working style that centered on the women in her family. Through obscure narratives, Berrio’s collages evoke
aligns painting with the collective unconscious. a sense of mystery. The women in her work are almost always accompanied by an animal
or an elaborate costume that suggests a broader narrative withheld from the viewer.
Recent solo exhibitions of Bernhardt’s work have been presented at CANADA, New
York; Amagansett, New York; St. Louis Contemporary Art Museum; Modern Art Museum Berrio has presented solo exhibitions in New York at Praxis Gallery and Sensei Gallery
of Fort Worth; Lever House Art Collection, New York; and Carl Freedman Gallery, Lon- and in San Francisco at Kokoro Gallery. She has been included in recent group shows at
don. This past year, Bernhardt was included in Manifesta 11: The European Biennial of Rachel Uffner Gallery, New York; Weatherspoon Museum, Greensboro, NC; Pi Artworks,
Contemporary Art in Zurich. 12 London; Livtak Contemporary, Tel Aviv; and El Museo del Barrio, New York. 13
Cecily Brown
Shipwreck (After Géricault), 2017
Gouache, watercolor, ink and pastel on paper
Lisa Blas 52 x 79 inches
Courtesy of the artist
Rousseau, after the flood, 2018
Acrylic and interference paint on watercolor paper on Canson paper Retail Value: $80,000
28 ¾ x 20 ½ inches Opening Bid: $65,000
Courtesy of the artist
BIO: Arriving in New York from her native London in the early 1990s, Cecily Brown (b.
Retail Value: $4,200 1969, London) made her mark with visceral paintings depicting anthropomorphized ani-
Opening Bid: $2,000 mals and deceptively bucolic landscapes. Engaging while challenging the recent history
of male-driven Abstract Expressionist painting, Brown’s often larger-than-life paintings
BIO: New York based, Guamanian/Italian-American artist Lisa Blas creates works that evoke the age-old conflict between figuration and abstraction while ennobling broken
focus on past events to draw connections to the political legacies that still act on our narratives and eclecticism—her arsenal of sources ranges from Titian through Degas and
modern lives. Tapping into art history, nature, and current events, Blas generates images Jimi Hendrix to contemporary political events.
and texts that communicate about today’s world with brevity and honesty. Geometric cut
paper, signage, and flags can all be found in Blas’ practice, often placed in a state of A major exhibition of Brown’s work will be on view at Louisiana Museum of Modern Art
semi-obscurity behind milky vellum or as a byproduct of the way she splices and recom- in Humlebæk, Denmark in November, and her recent solo exhibition at Instituto Tomie
bines elements. Ohtake in São Paulo is currently traveling to several museums across Brazil. Major exhibi-
tions of Brown’s work have been presented by The Museum of Fine Arts, Boston; Des
Lisa Blas has exhibited and lived nationally and internationally in Washington DC, Los Moines Art Center, Iowa; Museo Nacional Centro de Arte Reina Sofia, Madrid; and The
Angeles, France and Belgium. She has recently had solo exhibitions at carriage trade, Hirshhorn Museum and Sculpture Garden, Washington, DC, among many others. The
New York; Ortega y Gasset Projects, New York; The Emily Harvey Foundation, New York; Drawing Center organized Brown’s first solo museum exhibition of drawings in 2016,
Kai Matsumiya, New York; Rossicontemporary, Brussels and many more. 14 entitled Cecily Brown: Rehearsal. 15
N. Dash
Zach Bruder Untitled, 2018
Paper, graphite, string
Walz, 2018 22 x 30 inches
Color pencil on woven textile and burlap, sewn Courtesy of the artist and Casey Kaplan, New York
13 x 10 ½ inches
Courtesy of the artist and Magenta Plains Gallery Retail Value: $7,225
Opening Bid: $3,000
Retail Value: $2,500
Opening Bid: $1,000 BIO: Mixed media artist N. Dash (b.1980, Miami Beach, FL) lives the material quality of
her work, folding, smoothing, picking apart, and working fabric and paper as she goes
BIO: New York based artist Zach Bruder (b. 1984 in Cleveland, OH) uses loose but through her daily life. She repeats this intimate and prolonged exposure to each mate-
confident strokes of paint to revive mythological stories derived from religious and social rial over and over, photographing the resulting, abstract forms. Taking cues from these
narratives that function beyond a personal cortex. Through the revival of familiar motifs smaller works, N. Dash’s architectural and monumental works transcend the boundaries
and folklores, he reconstructs these stories into new interpretations. Bruder uses paint- between painting and sculpture, playing with texture and dimension. Time, balance, and
ing like an encyclopedia; as a source for answers in the world he lives in. euphoria emerge from these compositions, large and small.
Bruder’s recent solo exhibitions include Hardscrabbled at Harlan Levey Projects, Brus- Solo exhibitions of N. Dash’s work have been mounted at Zeno X Gallery, Antwerp; Fon-
sels; Monument Around at galerie l’inlassable, Paris; Plant in Repair at Gregory Lind dazione Giuliani, Rome; Casey Kaplan, New York; Mehdi Chouakri, Berlin; and The Ham-
Gallery, San Francisco; and Unwelcome Guest at LaMaMa Galleria, New York. Bruder mer Museum, Los Angeles. Her work has been included in group exhibitions at FLAG Art
has been included in exhibitions at Ratio 3, San Francisco; The Journal Gallery, Brooklyn; Foundation, New York; Museum of Contemporary Art Detroit, Detroit; The Jewish Muse-
and Magenta Plains, New York. 16 um, New York, NY; and Museo Nazionale delli Arti del XXI Secolo, Rome, among others. 17
Robert Davis Lucy Dodd
Ford LTD, 2018 Snake and the Butterfly, 2018
Pencil on paper Butterfly wings, mica, thread, sticker, charcoal, dry pigment,
6 ½ x 10 ¼ inches soft pastel, and acrylic on paper
Courtesy of the artist 23 ¼ x 30 inches
Courtesy of the artist and David Lewis, New York
Retail Value: $3,500
Opening Bid: $1,500 Retail Value: $12,000
Opening Bid: $6,000
BIO: Robert Davis (b. 1970, Norfolk, VA) is a New York-based artist who is best known BIO: Lucy Dodd (b. 1981, New York) is a mixed media artist who utilizes non-conven-
for using often-abused substances, like alcohol, cigarettes, and coffee, in his textured tional materials to create macrocosmic abstract paintings. She has a unique connection
works. Differing from this mixed media practice, Davis’s photorealistic drawings appropri- with all of these media including fermented tea, kombucha scoby, yerba-maté infusion,
ate well-known and sometimes nostalgic images, such as photographs of James Baldwin ash, squid ink, avocado extract, charcoal, and mixed pigments and even her dog’s urine.
or Barbara Hepworth sculptures. In choosing these images, Davis seeks to recreate and The combination of these materials along with splatters of paint and amorphous shapes
present the cultural elements that were integral to his formative years. evokes a visceral response from those who encounter her work. Ritualistic action and
improvisation is an integral part of the artist’s process.
In recent years, Davis has presented solo exhibitions in New York at the CUE Art Founda-
tion and Half Gallery. In addition, he has been included in group exhibitions at Wilding Lucy Dodd’s solo exhibitions include shows at The Whitney Museum of American Art,
Cran Gallery, Los Angeles; Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg; New York; David Lewis, New York; Frieze London; and Sprüth Magers, Berlin. Group
Museum of Contemporary Art Chicago; The Andy Warhol Museum, Pittsburgh; Museum exhibitions of her work have been presented at Sammlung Goetz, Munich; The Ware-
of Contemporary Art, North Miami; Sommer Contemporary Art, Tel Aviv; Luce Gallery, house, Dallas; Victoria Miro, London; Altman Siegel, San Francisco; and Galleria Alfonso
Turin; Rental Gallery, Long Island; and Untitled Gallery, New York. 18 Artiaco, Naples. 19Torkwase Dyson
UNTITLED (BECOMING_13), 2017
Gouache and pen on paper
12 x 9 inches
Courtesy of the artist and Davidson Gallery
Retail Value: $950 Robert Otto Epstein
Opening Bid: $500
R6h24Xb*5t1, 2016
BIO: Torkwase Dyson (b. 1973, Chicago, IL) uses visual abstraction to engage issues of Color pencil on paper
social architecture and environmental justice as they concern black and brown bodies. 20 x 18 inches
Following her time at Tougaloo College in Jackson, Mississippi, where she studied Courtesy of the artist
sociology, social work, and fine art, she traveled to Africa and the Americas, engaging
with communities of color and strategizing with them about resource equality. In 2016, Retail Value: $2,000
Dyson built the Studio South Zero (SSZ), a solar-powered mobile studio that enabled Opening Bid: $800
her to produce multidisciplinary art in various environments. This further inspired The
Wynter-Wells Drawing School for Environmental Justice, through which she continues BIO: Robert Otto Epstein (b. 1979, Pittsburgh, PA) uses drawing to schematically recre-
to explore black spatial justice. ate sweater patterns, painstakingly plotting his designs on gridded paper. The configura-
tion of lines and dots in Epstein’s broader body of work evokes the technicolor sensibili-
Solo exhibitions of Dyson’s work have been shown at Davidson Contemporary, New ties of 1960s Op Art while maintaining a morphological relationship to woven fabric.
York; Landmark Gallery, Lubbock, TX; and Second Street Gallery, Charlottesville, VA. Her The subtle shifts in tone that are hidden in the layers of Epstein’s meticulously detailed
work has been included in group exhibitions at The Whitney Museum of American Art, drawings give each work a textured, textile-like appearance.
New York; The Studio Museum in Harlem, New York; and in the 2010 Whitney Biennial.
Most recently, in 2018, the artist brought The Wynter-Wells Drawing School and its Epstein’s work has been included in exhibitions at Jack Hanley Gallery, New York; Jeff
curriculum to The Drawing Center where her project served as the institution’s first Bailey Gallery, New York; The Hole, New York; Morgan Lehman, New York; Pierogi Gal-
Winter Term, an annual initiative that explores drawing’s transformative role in civic and lery, Brooklyn; and Ada Gallery, Richmond, VA, among many others. Epstein was featured
global society by partnering with artists and organizations committed to these issues. 20 in the exhibition Thread Lines, organized by The Drawing Center in 2014. 21Eugenio Espinoza Edie Fake
Awareness, 2018 Release Form, 2014
Silkscreen on paper, glue, charcoal and rubber stamp on Canson paper Gouache and ink on paper
12 x 9 inches 10 x 14 inches
Courtesy of the artist Courtesy of the artist
Retail Value: $3,000 Retail Value: $4,000
Opening Bid: $1,500 Opening Bid: $1,500
BIO: Eugenio Espinoza (b. 1950, San Juan de los Morros, Venezuela) is best known for BIO: Edie Fake (b.1980, Chicago) is known for his visionary architectural drawings that
his monochromatic, minimalist manipulations of grid forms. With these forms, Espinoza represent what the artist calls “Queer Space.” Using kaleidoscopic color schemes and vi-
reacted against the dominant tendencies toward geometric abstraction and Kinetic art in brating maze-like motifs, Fake creates psychical maps of spaces in which LGBTQ+ com-
1970s Venezuela, then used as state-approved symbols of the country’s modernity and munities traditionally sought out self-identification. Reflecting the early influence of the
wealth. Grids signify real space, ready to be warped in performances and unorthodox Chicago Imagists and the Hairy Who, Fake floods his drawings with interlocking patterns
installations, and ultimately question the modernist aesthetic, while found objects and and interrupts them with architectural features; labyrinthine walls, doors, windows, and
photography offer further opportunities for unexpected manipulation. swimming pools cling to one another haphazardly. Simultaneously bold and disorienting,
Fake’s eclectic drawings function as visual metaphors for the experiences of LGBTQ+
In 1985, Eugenio Espinoza represented Venezuela at the Bienal de São Paulo. His work identities, which can be both empowering and destabilizing.
is in the permanent collections of Tate Modern, London; Museum of Fine Arts, Boston;
The Museum of Fine Arts, Houston, TX; Galería de Arte Nacional, Caracas; Museo de Solo exhibitions of Fake’s works have been presented at The Everson Museum of Art,
Bellas Artes, Caracas; Museu de Arte Contemporânea, São Paulo; Museu de Arte Mod- Syracuse, NY; Marlborough Chelsea, New York; Thomas Robertello Gallery, Chicago;
erna, Rio de Janeiro; Museo de Arte Contemporaneo, Bogotá; Colección Patricia Phelps Trunk Club, Chicago; and Western Exhibitions, Chicago. A long-term installation of his
de Cisneros, New York and many others. 22 work will be mounted at The Drawing Center’s Stairwell project space in fall 2019. 23Amy Feldman Derek Fordjour Fillet Sashay, 2018 Balloon Study for Half Mast., 2018 Ink and collage on paper Acrylic, charcoal, oil pastel, and foil on newspaper mounted on canvas 11 x 14 inches 24 x 18 inches Courtesy of Blain Southern, Berlin and Ratio 3, San Francisco Courtesy of the artist Retail Value: $2,000 Retail Value: $7,500 Opening Bid: $800 Opening Bid: $3,000 BIO: Amy Feldman (b. 1972, New Windsor, NY) flattens background and foreground in BIO: In his paintings and collages, Derek Fordjour (b.1974, Memphis, TN) explores a life her achromatic, monumental paintings. Introducing a performative element, she gives her- tied to the rules of survival. He uses the language of games, sports, and entertainment self one opportunity to create her large-scale works. The resulting grey forms evoke the to navigate the experience of marginalized individuals and communities. Layers of sym- anxiety and immediacy of the painting process, identifiable in curvaceous brushstrokes bolism are mirrored by an accumulation of media, as when clippings from the Financial and bold shapes. Feldman’s works are an extension of the visual language of Minimal- Times newspaper are overlapped to create a peeling effect, obscured by paint. Ford- ism, yet her forms, reminiscent of cartoonish speech bubbles, offset the austerity of her jour’s rich objects meditate on vulnerability and risk taking, inevitable factors in the game palette and the anxiety of her process with a lighthearted buoyancy. of life. Amy Feldman has presented solo exhibitions at James Cohan Gallery, New York; Blain Solo exhibitions of Fordjour’s work have been presented at Sugar Hill Children’s Museum Southern, Berlin; Ratio 3, San Francisco; and Corbett vs. Dempsey, Chicago. Group of Art & Storytelling, New York; Josh Lilley, London; and Nina Johnson, Miami. His work exhibitions have been presented at Sheldon Museum of Art, Lincoln, NE; New Britain has been included in group shows at John Wolf Art Advisory & Brokerage, Los Angeles; Museum of American Art, CT; The Brooklyn Museum; and Musée d’Art Moderne et Con- Johannes Vogt Gallery, East Hampton; Josh Lilley, New York; and Ethan Cohen, New temporain, Saint-Etienne, France, among others. 24 York. He will be an artist in residence at The Whitney Museum of American Art this fall. 25
Ellen Harvey
Isca Greenfield-Sanders Oval Crack Painting for the Drawing Center, 2018
Watercolor on 100% cotton archival rag paper
Two Girls, 2018 16 x 20 inches
Mixed media watercolor with color pencil Courtesy of the artist
15 ½ x 15 ½ inches
Courtesy of the artist and Miles McEnery Gallery, New York Retail Value: $4,000
Opening Bid: $1,500
Retail Value: $8,000
Opening Bid: $3,500 BIO: Brooklyn-based artist Ellen Harvey (b. 1967, Farnborough, Kent) is known for her
public paintings and installations that disrupt traditional media tropes. She has reflected
BIO: Isca Greenfield-Sanders (b. 1978, New York) is a landscape painter whose idyllic upon the relationship between the historical and contemporary nude through painting
depictions of postwar American life are based on found vintage photography. Using the and drawn postcards, and introduced landscape oil paintings as graffiti on walls around
old pictures as a starting point, she creates several iterations of each image— focusing New York City. Experimenting with materials and subjects pulled from art history— includ-
on fragments that she grids and paints, then alters with pencil and watercolor, and finally ing bronze, graphite, oil paint, and mosaic; and nudes, landscapes, architecture, and
paints over with oil. Greenfield-Sanders’ meticulous reconsideration of details is not dis- portraiture— Harvey both illuminates and subverts viewer expectations.
similar from the human memory building and remembrance processes.
Harvey’s work has appeared in the 2008 Whitney Biennial; the Queens Museum of Art,
Exhibitions including Isca Greenfield-Sanders’ paintings have been mounted at The New York; Project 59, Governor’s Island, New York; Galerie Gebr. Lehmann, Dresden;
Museum of Contemporary Art Denver; Museum Morsbroich, Germany; and MoMA PS1, Wilding Cran, Los Angeles; and The Contemporary Jewish Museum, San Francisco. Solo
New York. Her works are included in the public collections of The Solomon R. Guggen- exhibitions of her work have been held at The Children’s Museum of the Arts, New York;
heim Museum, New York; The Brooklyn Museum; The Museum of Fine Arts, Houston; Locks Gallery, Philadelphia; Groeninge Museum, Bruges; and Clay Center for the Arts
The Victoria and Albert Museum, London; and The Fine Arts Museum of San Francisco. 26 and Sciences, Charleston, WV among many others. 27Susan Hefuna
Building, 2009
Ink on tracing paper
35 x 35 centimeters Binna Kim
Courtesy of the artist
Companion, 2018
Retail Value: $7,600 Pencil on paper
Opening Bid: $3,000 11 x 14 inches
Courtesy of the artist
BIO: German-Egyptian artist Susan Hefuna (b. 1962, Dusseldorf, Germany) follows a
forward trajectory from point to point, drawing in two and three dimensions with lines and Retail Value: $600
dots. Alongside drawing and sculpture, she has translated these line and dot systems Opening Bid: $300
into notation for movement of the human body, recorded the unnoticed pathways we
trace through familiar streets, and stripped movement down to process and performance. BIO: Binna Kim (b. Busan, South Korea) is a New York based artist
Throughout her career, Hefuna has explored physical and cultural structures, inspired by who specializes in detailed drawings inspired by nature. A former floral
her mixed heritage to subvert categorization. designer, she pulls imagery from childhood memories of climbing mountains
and observing the sea. Kim pays particular attention to detail, using
Hefuna performed the event NOTATIONOTATIONS in collaboration with choreographer graphite, paper and pen as her medium. Her works exude a range of
Luca Veggetti at The Drawing Center in September of 2013. Recent solo exhibitions of emotions from tranquility to rage, likening turbulent ocean waves to the
her work have been shown at Galerie Volker Diehl, Berlin; Whitworth Art Gallery, Man- human experience.
chester; Pi Artworks, Istanbul; and Rhona Hoffman Gallery, Chicago. Her work has been
included in group exhibitions at Guggenheim Abu Dhabi; Centre Pompidou, Paris; and Recent group exhibitions have been held at One Art Space, New York; Gallery 25N,
The Solomon R. Guggenheim Museum, New York, among others. 28 New York; The Plaxall Gallery, New York; and The Citi DeFord Gallery, New York. 29Kiki Kogelnik
Brigitte Mahlknecht
Happy Birthday Little Frogs, 1981
Silkscreen on paper, Edition 193/200 Fast Architektur, 2018
33 3/8 x 26 inches Drawing
Courtesy of Kiki Kogelnik Foundation; Mitchell-Innes & Nash, New York and Simone 22 ¼ x 16 ½ inches
Subal Gallery, New York © Kiki Kogelnik Foundation. All Rights Reserved. Courtesy of the artist
Retail Value: $4,500 Retail Value: $1,300
Opening Bid: $2,000 Opening Bid: $650
BIO: Kiki Kogelnik (b.1935, Bleiburg, Austria, d.1997) was an Austrian Pop artist who BIO: Vienna-based artist Brigitte Mahlknecht (b. 1966, Bolzano, Italy) appropriates the
constructed dismembered silhouettes of the human form to investigate post World War visual lexicon of architecture to create images that reference both monumental struc-
II technology, industry, and culture. In vinyl and paper, so reminiscent of skin, as well as tures and everyday objects. In a recent series of drawings, entitled Fast Architectur,
in printmaking and drawing, Kogelnik manipulated the bodies of her models and friends, for instance, Mahlknecht’s images at once resemble modernist buildings and stacks of
slicing into them, painting onto them, and overlaying them with symbols. Driven by the cardboard boxes. Approaching drawing as a cognitive process rather than a mimetic
heavily mediated world around her, she disrupted static perceptions of the human body act, Mahlknecht’s drawings test the limits within which spatial forms are understood as
and, by extension, identity. architecture.
Kiki Kogelnik’s works have been featured in solo exhibitions at Natalie Seroussi, Paris; Mahlknecht was recently included in a group exhibition at The Austrian Cultural Forum
Modern Art Oxford, England; and The Austrian Museum of Applied Arts, Vienna, among New York (curated by Brett Littman, former Executive Director of The Drawing Center). In
many others. In addition, Kogelnik has been included in group exhibitions at Louisiana recent years, her work has also been included in exhibitions mounted by Raum für experi-
Museum of Modern Art, Humlebӕk, Denmark; Tate Modern, London, and The Brooklyn mentelle Bildtheorie, Vienna; Weserburg / Museum für Moderne Kunst, Bremen; and The
Museum. 30 Institut für experimentelle Architektur, Innsbruck, Austria. 31Billy Martin Chris Martin
Disappearing, 2018 Artist, 2007
Oil pastel, tempera on paper Ballpoint on cardboard
30 x 22 ½ inches 11 x 8 inches
Courtesy of the artist Courtesy of the artist and Anton Kern Gallery
Retail Value: $3,000 Retail Value: $4,500
Opening Bid: $1,000 Opening Bid: $2,000
BIO: Billy Martin (b.1963, New York) is a percussionist, composer, and visual artist BIO: Paintings by Brooklyn-based artist Chris Martin (b. 1954, Washington, DC) fuse
known for participating in a diverse range of musical contexts; Martin has composed bold stripes with holographic paper and photographs of celebrity icons. Having discov-
scores for chamber groups and films, but he has also performed improvisations in New ered a love for lowbrow media like glitter while working as an art therapist with HIV-
York nightclubs and performance spaces. Martin earned a reputation as a master jazz positive patients, Martin’s paintings demonstrate an acute awareness of how materials
drummer for the acclaimed avant-jazz trio Medeski, Martin & Wood, which began record- can take on personal and cultural meanings. Often grandiose in scale, Martin’s works
ing in the early 1990s. In recent years, he has developed independent projects that bring offer much more than simple visual sensation. They speak to the power of pop culture to
out early Brazilian influences, including collaborations with Ornette Coleman, Flea, Marc infiltrate and take the place of a collective unconscious.
Ribot, John Zorn, Lee Ranaldo, and Bill Laswell.
Martin’s works have been featured in solo exhibitions at galleries in New York, such as
Martin’s solo and collaboration albums include: Disappearing (2018); Billy Martin & Anton Kern Gallery, Karma, and Mitchell-Innes & Nash, and in Los Angeles at David
Friends: Wandering (2015); John Medeski & Billy Martin: Mago (2013); and Illy B Eats Kordansky Gallery. In addition, Martin has been included in group exhibitions at Venus
(2012). In 2015, The Drawing Center presented Drawing Sound, featuring performances Over Manhattan, New York; Timothy Taylor, London; Gavin Brown’s Enterprise, New York;
by Martin. 32 Mana Contemporary, Jersey City; and The Brooklyn Museum. 33Peter Matthews Ryan McGinness 6 Hours In and With the Atlantic Ocean (England), 2017 Mirror before a Girl (After Girl before a Mirror), 2018 Pen, earth, rust and water from the Atlantic Ocean on paper Graphite and acrylic medium on paper 56 x 94 centimeters 30 x 22 inches Courtesy of the artist Courtesy of the artist Retail Value: $3,500.00 Retail Value: $7,500 Opening Bid: $1,500 Opening Bid: $5,000 BIO: The abstract drawings created by English artist Peter Matthews (b.1978, Derby, BIO: New York based artist Ryan McGinness (b.1972, Virginia Beach, VA) creates England) are created while the artist stands in the shallow waters of the Pacific. Using mesmerizing psychedelic graphic prints that are inspired by skateboard culture, public a floating board as a drawing surface, Matthews represents what he sees as he looks signage, graffiti art, urban landscapes, and corporate logos. He is interested in how towards the open water. Matthews’s technique captures the artist’s connection with graphic images change the value and purpose of ordinary objects. His works, a cacopho- the environment, and his drawings invite viewers to meditate on the ways they are ny of shapes and images, are painted with colors so fluorescent that they are impossible embedded in the world around them. Often necessarily time-based, the drawings are to reproduce digitally. Using these carefully constructed symbols and colors, McGinness completed just before the artist succumbs to the heat or the pull of the ocean current. defines a new approach to the language of design. Solo exhibitions of Matthews’s works have been mounted by BEERS London and James McGinness has presented solo exhibitions at Virginia Museum of Fine Arts, Richmond; Cohan Gallery, New York, while group exhibitions featuring his work have been presented Cincinnati Art Museum; Quint Gallery, San Diego; and Benrimon Contemporary, New by museums including Laguna Art Museum, Laguna Beach, CA and The North Carolina York. He has participated in group exhibitions at The Andy Warhol Museum, Pittsburgh, Museum of Art in Raleigh. Matthews was included in The Drawing Center’s exhibition PA; Museum Stavanger, Norway; The Mori Art Museum, Tokyo; Whitney Museum of Selections Spring 2010: Sea Marks. 34 American Art at Champion, Connecticut and The Museum of Modern Art, New York. 35
Eduardo Navarro
Ebecho Muslimova You Are What You Eat, 2018
Edible paper
FATEBE SPIT SINK, 2016 4 drawings, 11.69 x 8.27 inches each
Ink on paper Courtesy of the artist and Nara Roesler
12 x 9 inches
Courtesy of the artist Retail Value: $1,000
Opening Bid: $500
Retail Value: $3,000
Opening Bid: $1,000 BIO: Eduardo Navarro (b. 1979, Buenos Aires, Argentina) uses his interactive perfor-
mance pieces to transform perception. Inspired by his own meditative practice, Navarro
BIO: Ebecho Muslimova (b.1984, Dagestan, Russia) is known for satirical graphic draw- works with professionals in different fields, building surreal experiences and actions that
ings of her alter ego, “Fatebe”. With ink on paper, Muslimova details Fatebe’s experienc- aim to spark contemplation. Objects and participants undergo a process of transforma-
es as she embraces her body’s unique shape and form. In the drawings, Fatebe’s nude tion in Navarro’s work. As they change states participants and consumers are able to
body is contorted and stretched, and she finds herself in situations both humorous and engage with his topics of investigation in new ways.
compromising. Muslimova’s central character is unashamed and confident of her pliable
body and its many functions. In Muslimova’s work, Fatebe becomes an authentic repre- Solo exhibitions of Navarro’s work have been presented by Museo Tamayo in Mexico
sentation of modern changes in perception concerning the female form. City; High Line in New York; and DiTella University in Buenos Aires. His work has been
included in the 32nd São Paulo Biennial; the 2015 New Museum Triennial, New York;
In recent years, solo exhibitions of Ebecho Muslimova’s work have been presented at Ma- and the 2015 Sharjah Biennial, United Arab Emirates, among many others. From April 6,
genta Plains, New York and Room East, New York. Her work has also been included in 2018 to April 22, 2018, The Drawing Center commissioned the short-term project Into
group exhibitions at the Cookie Gate, Ellis King, Dublin and Tanya Leighton, Berlin. She Ourselves from Navarro, during which he produced drawings and dissolved them into a
will have an exhibition in The Drawing Center’s Lab gallery in summer 2019. 36 digestible soup. 37Kirstine Roepstorff
Curtis Talwst Santiago
Spherical Music #1, 2012
Collage, mixed media Sir Santi, 2018
31 x 71 centimeters Spray paint, charcoal on paper
Courtesy of the artist 12 ¼ x 9 inches
Photography by Erich Malter Courtesy of the artist and Rachel Uffner Gallery
Retail Value: $3,500 Retail Value: $3,500
Opening Bid: $1,500 Opening Bid: $1,500
BIO: Kirstine Roepstorff (b. 1972, Copenhagen, Denmark) invites viewers to physically BIO: The Canadian-Trinidadian artist Curtis Santiago (b.1979, Edmonton, Alberta) is
and visually negotiate the in between. Each layer of her work engages a new level of best known for his Infinity Series, an expanding group of reliquary-like dioramas featur-
consciousness as she explores political, social, and historical power structures through ing scenes from the news as well as the artist’s life and family stories. Santiago’s current
collage, cultivating narratives in the space between her subjects. Tethered to horizontal work, spanning drawing, sculpture, and performance, reflects his first-hand knowledge
lines and balanced compositions, Roepstorff’s mixed media collage in two and three- of transculturalism and diasporic experience. With his contemporary practice, Santiago
dimensional space incorporates the tactility of fabric, brass, wood, and foil. subverts long-held misconceptions and confronts how racial stereotypes established in
Medieval and Early Modern Europe continue to inform present-day race relations in the
In 2017, Kirstine Roepstorff represented Denmark in the 57th International Art Exhibition, West, contributing to a centuries-long process of self-invention.
La Biennial di Venezia. Solo exhibitions of Kirstine Roepstorff’s work have been pre-
sented at Andersen’s Contemporary, Copenhagen; SVIT, Prague; Kunstverein Göttingen, Recent solo exhibitions of Santiago’s work have been mounted at Rachel Uffner Gallery,
Göttingen. Germany; Museum für Gegenwartskunst, Basel; and The National Museum of New York; Cooper Cole, Toronto; and Gallery MOMO, Johannesburg. His work has also
Art, Architecture and Design, Oslo. She has works in the permanent collections of The been included in group exhibitions at The New Museum of Contemporary Art, New York;
Museum of Modern Art, New York; The National Museum of Art, Architecture and Design, The Studio Museum in Harlem, and Pérez Art Museum Miami. In fall of 2019, The Draw-
Oslo; and Statens Museum for Kunst, Copenhagen. 38 ing Center will mount a solo exhibition of Santiago’s work in the museum’s Main Gallery. 39Olympia Scarry David Scher All That Is Left Is The Air, 2018 Untitled, 2017 Graphite on paper Mixed media on paper 11 x 8 ½ inches 20 x 25 ½ inches Courtesy of the artist Courtesy of the artist and Pierogi Retail Value: $1,000 Retail Value: $4,000 Opening Bid: $500 Opening Bid: $1,500 BIO: Olympia Scarry (b. 1983, Geneva) is a London based mixed media artist whose BIO: New York-based artist David Scher (b. 1952, St. Louis, MO) is known for his conceptual and installation works delve into the technological sublime. In a self-portrait multifaceted and often humorous drawings and paintings, each of which contains a world made using a polygraph machine or film and photographs of the calm of nature, Scarry of the artist’s own making. Over the course of his practice, Scher has filled more than questions how machines filter our perceptions of the world. In other works, she recontex- 1,200 sketchbooks with dreamlike landscapes, figures, and follies. Through salon-style tualizes architectural forms and elements, exploring the relationship between facture and performances, the artist blends the boundaries between the real world and the imaginary context through minimalist forms. and gives life to the symbols and storylines that populate his sketches. Solo exhibitions of Scarry’s work have been presented at Hauser & Wirth, Gstaad; Solo exhibitions of Scher’s work have been presented by Pierogi, Brooklyn; Galerie Gazelli Art House, Baku, Azerbajan; and CONDUITS/Gea Politi, Milan. Her work has Jean Brolly, Paris; and Galerie Ute Parduhn in Düsseldorf. His work has been included also been presented at Tel Aviv Museum of Art, Tel Aviv, Israel; the Venice Biennale; São in group exhibitions in New York at The New Museum of Contemporary Art, Exit Art, Paulo Museum of Contemporary Art, Brazil; Museum of Modern Art, Baku, Azerbajan; and The Brooklyn Museum, and can be found in the permanent collection of The Langen Foundation, Neuss, Germany; and New Museum & Art Production Fund, NY The Museum of Modern Art, New York. In 2017 he presented Does it Fold? in The Lab among many others. 40 at The Drawing Center. 41
Philip Taaffe Dannielle Tegeder
Cloister Mandala, 2007 Isometric Fission Machinery System, 2018
Mixed media on paper Ink, colored pencil, and gouache on fabriano murillo paper
20 7/8 x 20 ¾ inches 18 x 14 inches
Courtesy of Isabel Stainow Wilcox Courtesy of the artist
Retail Value: $15,000 Retail Value: $3,200
Opening Bid: $5,000 Opening Bid: $1,000
BIO: Philip Taaffe (b.1955, Elizabeth, NJ) is known for his kaleidoscopic amalgamations BIO: New York based artist Dannielle Tegeder (b. 1971, Peekskill, NY), engages with a
of painted symbols. Concerned with the history of iconography and ornament, and the wide range of media, inspired by Russian Constructivism and the Bauhaus and her own
way they approach natural imagery, Taaffe composes paintings inspired by the accretion desire to delve into a feedback loop of artistic exploration. From site-specific wall draw-
of history and culture, and by his own travels. By adding collage and printmaking to his ings to video, sound work, sculpture, and animation, Tegeder’s works reveal the “hidden”
canvases, he connects with the world outside himself, suggesting the shared origins of architecture of our daily lives. This abstract architecture, drawn on walls and placed in
the symbols he employs. space, creates a tension between the ephemeral utopia of Tegeder’s rendered spaces
and the reality of the physical buildings they occupy.
Philip Taaffe’s works can be found in the collections of The Museum of Modern Art, New
York; The Philadelphia Museum of Art; The Whitney Museum of American Art, New York; Dannielle Tegeder’s work has appeared in exhibitions at MoMA PS1, New York; The
Museum der Moderne, Salzburg; and Museo Nacional Centro de Arte Reina Sofía, Ma- New Museum of Contemporary Art, New York; The Brooklyn Museum; and Museum of
drid. He has shown in exhibitions at three Whitney Biennials; at Gagosian Gallery, MoMA Contemporary Art, Chicago. Her work is in the collections of The Museum of Modern Art,
PS1 and The New Museum of Contemporary Art in New York; and at The Victoria and New York; Museum of Contemporary Art, Chicago; and The Weatherspoon Museum of
Albert Museum, London, among many others. 42 Art, Greensboro, NC. 43Kyle Thurman Charline von Heyl
Study, 2018 Untitled, 2008
Graphite and colored pencil on parchment paper in artist’s frame Woodcut, silkscreen, spraypaint, and collage on paper
11 x 8 ½ inches 30 1/8 x 22 1/8 inches
Courtesy of the artist Courtesy of Podie Lynch
Retail Value: $1,500 Retail Value: $18,000
Opening Bid: $700 Opening Bid: $5,000
BIO: Kyle Thurman (b. 1986, West Chester, PA) translates photographs, images from BIO: Charline von Heyl (b. 1960, Mainz, Germany) paints vibrant, imagined motifs with
the news, and object forms into alternate media, exploring the limitations and capabilities action and urgency. Many of her paintings approach kitsch— fascinated by fetish objects
of information transmitted via image, text, and technology. At their core, his large-scale in the Freudian sense, von Heyl translates the objects of her own material desires into
drawings on seamless paper suggest unseen space, the continuous paper serving as a painting. Combining geometric and fluid brushwork, she even sands her paintings flat to
stand in for information that lies outside the photographic frame. Thurman’s subjects also emphasize the artificial quality of her work. The result is work that is recognizable and ac-
take on tangible reality, in that they are often executed in true-to-life dimensions that invite cessible even as it slips between different forms and frames of reference.
the viewer into a physical relationship with the work.
Von Heyl has had solo exhibitions at Tate Liverpool, United Kingdom; Kunsthalle Nurn-
Thurman’s work has been presented solo at Off Vendome, New York; Office Baroque, berg, Germany; The Institute of Contemporary Art, Boston; Le Consortium, Dijon, France;
Brussels; Kostyál, London; and Room East, New York. His work has been included in The Dallas Museum of Art, Texas; and The Vienna Secession, Austria. Her work can be
exhibitions at Sophie Tappeiner, Vienna; CENTRAL FINE, Miami; Parapet / Real Humans, found in collections including Musee d’Art Moderne de la Ville de Paris, France; The Tate,
St. Louis; Hannah Hoffman Gallery, Los Angeles; cookie butcher, Antwerp; and Museum London; The Museum of Contemporary Art, Los Angeles; The Hammer Museum, Los
of Contemporary Art Tucson, among others. 44 Angeles; and The Museum of Modern Art, New York. 45Chuck Webster
Oracle (For The Drawing Center), 2018 Susan York
Shellac ink and ink on antique handmade paper
26 3/8 x 22 ½ inches 1:1 Foundation III (fragment), 2018
Courtesy of the artist Graphite pencil on paper
22 ¼ x 30 inches
Retail Value: $3,600 Courtesy of the artist and Del Deo & Barzune Gallery
Opening Bid: $1,500
Retail Value: $4,000
BIO: New York based artist Chuck Webster (b. 1970, Bingham, NY) paints and draws Opening Bid: $1,500
ambiguous objects, each interconnected form switching between the domestic and the
sacred. He is known for sensitively drawn shapes, built from an eclectic combination of BIO: Active since the 1980s, Susan York (b. Newport, Rhode Island) creates work that
media including pencil, pastel, and watercolor as well as oil, spray paint, and pigment brings attention to overlooked architectural details by strategically positioning monolithic,
sticks. Each of Webster’s linear abstractions is generously layered and reworked, com- cast graphite planes and cubes adjacent to corners, moldings, and light wells. Geomet-
bining strata of material along with the artist’s personal history and perception of the ric yet fragile, York’s graphite forms allow her to explore the transition between two and
world. three dimensions.
Chuck Webster’s work can be found in the collections of The Whitney Museum of Ameri- Recent solo exhibitions of her work have been mounted by the Georgia O’Keeffe Mu-
can Art, New York; The Metropolitan Museum of Art, New York; The Baltimore Museum of seum, Santa Fe; Sheldon Art Museum, Lincoln, Nebraska; Santa Fe Art Institute; and
Art, MD; The Museum of Fine Arts, Houston; and The Beinecke Library at Yale University, The Lannan Foundation, Santa Fe. Her work has also been included in group exhibitions
New Haven. Webster has exhibited in solo exhibitions at ZieherSmith, New York; FRED, at 308@156 Project Artspace, New York, and Mies van der Rohe Haus, Berlin, among
London; Galerie Jones, Cologne; and Helene Nyborg Contemporary, Copenhagen, many others. The long-term installation Susan York: Foundation is on view at The Draw-
among others. 46 ing Center from October 13, 2017 through February 3, 2019. 47EXPERIENCES
Private Curator-led Tour of Lehman Collection Dita Amory, Curator in Charge of the Robert Lehman Collection at the Metropolitan Museum of Art, will take you on a guided tour of the Robert Lehman Collection. Robert Lehman gave the Museum his exquisite collection of paintings, drawings, manuscripts, maiolica, textiles, historic frames, Renaissance bronzes, and furniture with an understanding that galleries bearing his name would evoke the interiors of the Lehman townhouse. To this day, these collections highlight Mr. Lehman’s integrated approach to collecting across a full spectrum of media. Join us for a tour of Italian Renaissance masterpieces, among many others. Maximum participants: 6 Date to be mutually agreed upon in advance Retail Value: Priceless Opening Bid: $500 51
Drawing Workshop: From Idea to Plane,
to Third Dimension and Action Draw Jam for Kids with Eddie Martinez
Learn to draw in a private two hour lesson with Colombian artist Mateo López, Treat the children in your life to a private drawing workshop with artist Eddie Martinez.
who uses drawing as a conceptual tool and a way of conceiving and inhabiting the world. Located in The Drawing Center’s galleries, this class will be fun for kids (and their
To López, “an image is not flat; it is an atmosphere, it contains time and space.” This kids-at-heart chaperones!), stimulating their creativity and imagination. Perfect for their
experience will challenge how you perceive the medium of drawing and the world around next birthday party or any special occasion!
you, and definitely stimulate your creative genius. Grab your friends and get drawing!
Maximum participants: 10 children
Maximum participants: 15 Date to be mutually agreed upon in advance
Location: The Drawing Center Must occur outside of Museum open hours
Date to be mutually agreed upon in advance
Must occur outside of Museum open hours Retail Value: Priceless
Opening Bid: $750
Retail Value: Priceless
Opening Bid: $750 BIO: Eddie Martinez (b. 1977, Groton, CT) seamlessly blends his drawing practice with
his daily life. The New York-based artist carries pen and paper with him on the subway, to
BIO: Mateo López (b.1978, Bogotá, Colombia) is a New York-based multidisciplinary the doctor’s office, and to restaurants and lectures, among other work and leisure events.
artist whose drawings, sculptures, performances, and films are expressions of everyday, Stylistically evocative of mid-century abstraction, Martinez’s drawings bring their own
haptic encounters with objects and media. López has long approached drawing as a tool complexity, plugging a rotating cast of characters into raw, vigorously-drawn landscapes:
for understanding how we experience and inhabit the world. From his drawn construc- cartoon ducks, oversized eyes, coiled snakes, and anthropomorphic blocks of color are
tions, which can be manipulated by the viewer, to trompe l’oeil paper reconstructions of among his itinerant motifs.
two- and three-dimensional objects, López’s works reflect the artist’s view that everything
manufactured was at one point a drawing. Martinez’s work has been presented in New York at Half Gallery; The Journal Gallery;
ZieherSmith, and Mitchell-Innes & Nash. Last fall, Martinez was the subject of a
In recent years, López has participated in exhibitions at Ullens Center for Contemporary monographic exhibition at The Davis Museum, Wellesley College, MA, and at The
Art, Beijing; Mana Contemporary, Jersey City; The Museum of Contemporary Art, Detroit; Drawing Center where he showed a drawing installation entitled Eddie Martinez:
Drawing Room, London; and The Museum of Fine Arts, Boston. The Drawing Center Studio Wall. 53
mounted Mateo López: Undo List in 2017. 52A Trip to Terry Winters’ and Ellsworth Kelly’s Studios in Upstate New York Head upstate to Ancram, NY for a visit with artist Terry Winters and have lunch in his studio. Then drive ten minutes to Spencertown, NY for a private tour of Ellsworth Kelly’s studio and have coffee with Jack Shear, husband of the late Kelly and Director of the Ellsworth Kelly Foundation. Maximum participants: 6 Date to be mutually agreed upon in advance Transportation must be arranged by the winner Retail Value: Priceless Opening Bid: $1,500 BIO: A leading figure in the art world for four decades, Terry Winters (b. 1949, Brooklyn) became well known in the 1980s for his materially-conscious paintings, drawings, and prints. Mobilizing the patterns and schema that undergird physi- cal and intellectual life, Winters works in expansive series that allow for in-depth research. Incorporating and modifying found scientific images, including botanical forms and visualizations of complex system, Winters reveals the way motifs are framed and affected by human intention. In recent years, major retrospective exhibitions of Winters’s work have been presented at Kunsthalle Basel; Whitechapel Gallery, London; The Museum of Fine Arts, Boston; The Museum of Contemporary Art, Los Angeles; The Milwaukee Art Museum; The Walker Art Center, Minneapolis; and The Tate Gallery, London. Win- ters was included in The Drawing Center’s first Selections exhibition in 1977, and in Spring 2018, the museum mounted Terry Winters: Facts and Fictions, a survey of the artist’s works on paper. BIO: Ellsworth Kelly (b. 1923, Newburg, NY, d.2015) was a leading exponent of American postwar abstraction who is now well known for his hard-edge Color Field paintings. His groundbreaking approach to painting, sculpture, printmaking, and drawing across nearly seven decades earned him a legacy as a maverick and indel- ibly influenced a generation of artists who rejected the dominant style of Abstract Expressionism. For thirty-two years, Kelly lived in Spencertown, New York, with Jack Shear in a house adjacent to his studio. Though Kelly passed away in 2015, Shear has preserved the artist’s studio, intact, just as Kelly left it. Solo exhibitions of Ellsworth Kelly’s work have been shown at The Museum of Modern Art, The Whitney Museum of American Art, and The Solomon R. Gug- genheim Museum, New York. In 2002, The Drawing Center mounted the exhibition Ellsworth Kelly, Tablet: 1949–1973, featuring 180 never-before-seen drawings by the artist. 55
Studio Visit with Artist Dan Colen
Visit Dan Colen’s Brooklyn studio for an up close and personal look at his artwork, and to
hear from Colen himself about his practice, techniques, and inspiration.
Maximum participants: 5
Date to be mutually agreed upon in advance
Retail Value: Priceless Tour of The Noguchi Museum and
Opening Bid: $1,000 Gardens, and the Private Apartment
of Isamu Noguchi
BIO: Described as the “bad boy of post-pop New York,” Dan Colen (b. 1979, Leona, NJ)
earned his reputation by creating AbEx-style images using non-traditional materials, such Join Executive Director Brett Littman for an exclusive
as bird excrement and chewing gum. While Colen challenges the distinction between tour of The Noguchi Museum and Gardens, as well as the
high and low, his primary concern lies with the physical, almost magical properties of rarely-seen private apartment of artist Isamu Noguchi.
forgotten and discarded objects, from abandoned bicycles to used whoopie cushions. Enjoy light refreshments and admire sculptures and
Speaking of his charged installations, Colen says: “It’s about tapping into a material’s furniture by Noguchi on private display in the Museum’s
power and figuring out what to do.” offices.
Colen has presented recent solo exhibitions at Lévy Gorvy, New York; the Astrup Fearn- Maximum participants: 10
ley Museum of Modern Art, Oslo; Vito Schnabel Projects, New York; Dallas Contempo- Date to be mutually agreed upon in advance
rary, TX; Albright-Knox Art Gallery, Buffalo, NY; Herning Museum of Contemporary Art,
Herning, Denmark; and at Gagosian Gallery in New York, Paris, and Hong Kong, among Retail Value: Priceless
many other museums and galleries. 56 Opening Bid: $750 57Portrait Commission by Allison Hill-Edgar Have your portrait painted by artist Allison Hill-Edgar and receive a personalized work of art to be cherished for years to come. Hill-Edgar works in the mediums of drawing and painting, and focuses on the human form. Treat yourself or gift this experience to a loved one! Sittings to be arranged at mutually agreed upon times and location Maximum size: 16 x 20 inches Limited to one subject Retail Value: Priceless Opening Bid: $500 BIO: Allison Hill-Edgar (b. 1972, Washington, D.C.) is a New York based artist who has a distinct fascination with human anatomy. Hill-Edgar uses the human form as a medium through which to explore the connection between one’s mental space and reality. She develops figure studies and anatomical drawings in graphite, ink, chalk, and paint. Following through on a life-long interest in human biology, Hill-Edgar received her MD from the Columbia University College of Physicians and Surgeons in 2003 and her medical license the following year. Using her hard-earned knowledge of biology, she reflects on the human condition with a unique sensitivity towards form, flesh, and bone. Exhibitions of Hill-Edgar’s work have been presented at The 8th Annual LIC Arts Open Festival in New York; Fenimore Art Museum, New York; and The National Association of Women Artists, New York. 58 59
LIMITED EDITION
PRINTSJennifer Wynne Reeves
Untitled, 2018
Printed by Supreme Digital, Archival Ink on
Epson Hot Press Bright 330gsm
Edition of 50
10 x 14 inches
Courtesy of The Jennifer Wynne Reeves Trust
$150
Ellen Berkenblit
Untitled, 2015, 2018
Printed by Supreme Digital, archival ink on Hahnemuhle
Photo Rag Satin paper
Edition of 50 with 10 APs
15 x 11 inches
Signed by the artist
$500
Alexandre Singh
The Birds, 2012
Archival pigment print with hand-applied on 300 gsm
Hannemuhle paper
Edition of 75
20 x 24 inches
$1,500
Matt Mullican
Beautifully, 2009
Etching and aquatint printed by Burnet Editions, New York
Edition of 40 with 5 APs
Image size: 19 x 12 ½ inches
Paper size: 27 x 19 ½ inches
Courtesy of the artist and Tracy Williams, Ltd.
$1,000
62 63Richard Tuttle
1845, 2004
Drypoint on copper plate, Plate proofed and editioned by
Burnet Editions, New York
Edition of 50
Image size: 16 x 21 inches
Paper size: 18 ½ x 23 ½ inches
Signed and numbered by the artist
$1,500
Tomi Ungerer
Eat, 2015
Archival pigments on fine art rag paper
Edition of 50
26 ½ x 21 inches
Signed by the artist
$500
64BOARD OF DIRECTORS STAFF
CO-CHAIRS Laura Hoptman, Executive Director
Andrea Crane Olga Tetkowski, Deputy Director
Amy Gold Claire Gilman, Chief Curator
Rosario Güiraldes, Assistant Curator + Open Sessions Curator
Treasurer Isabella Kapur, Curatorial Assistant
Stacey Goergen Lisa Sigal, Open Sessions Curator
Kate Robinson, Registrar
Secretary Bruno Nouril, Development Director
Dita Amory Alison Hyland, Assistant Development Director
Aimee Good, Director of Education + Community Programs
Frances Beatty Adler Molly Gross, Communications Director
Brad Cloepfil PETER AHLBERG, DESIGNER
Steven Holl Noah Chasin, Executive Editor
Rhiannon Kubicka Joanna Berman Ahlberg, Managing Editor
Nancy Poses Dan Gillespie, Operations Manager
Eric Rudin Kara Nandin, Bookstore Manager
Jane Dresner Sadaka Nadia Parfait, Visitor Services Associate
David Salle Tiffany Shi, Visitor Services Associate
Joyce Siegel
Galia Meiri Stawski
Barbara Toll
Waqas Wajahat
Isabel Stainow Wilcox
Emeriti
Michael Lynne
George Negroponte
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