Daniel Buren Art

Laure Prouvost (French, b. 1978) Ideally this print would want to share all it knows with you, 2020 Medium: Lithograph on paper Dimensions: 49.5 x 76 cm Edition of 40: Hand-signed an...

Richard Serra Forged Rounds (hand signed), 2019 Offset lithograph poster (hand signed by Richard Serra) 26 × 40 inches Boldly signed in black marker on the front by Richard Serra Unf...

One screen print on wove paper titled, Alice Tully Hall by Guillermo Kuitca, 2009. It is hand signed in pencil, dated and numbered from the edition of 117 (total edition includes 18 artist's proofs) The sheet size is 22 1/4 by 20 inches, with the blindstamp of the printer, Brand X Editions, New York. Published by Lincoln Center for the Performing Arts, Inc., New York. This impression has a rich, bold red color on bright white paper. Guillermo Kuitca, whose paintings and prints are often inspired by seating arrangements in theater interiors, recreates the seating chart...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Target Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: 41.25 in. x 29.75 in. (104.78 cm x 75.5...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

This full-on view of a musician and his bass (also known as an upright bass or string bass), has an air of calm befitting the lowest-pitched bowed instrum...

Geometric composition is an original lithograph realized by the contemporary artist Walter Valentini With the description in Italian from Rhind excav...

The title of this poetic, abstract work is written across the top of the sheet. The hand-written cursive below reads: "David Shapiro / Told me he was going to / Carve his poems in st...

Andrés Nagel - UNTITLED 4 Date of creation: 1991 Medium: Etching and collage on paper Edition: 75 Size: 98 x 69 cm Condition: In very good conditions and never framed Observations: Etching and collage on paper signed by the artist and numbered edition of 75. As the result of his own experiences, training and life lived, comes out the art of Andres Nagel. Unclassifiable in a particular style, there are many who tried to tag his work as oneiric or surrealist. Even he has been labelled as a Pop artist, by the use of newspapers on his collages, like it happens on this print. According to Nagel, all these attempts of caging the artists are vane, as "even though art is being sold as if, it is not for mass consumerism". This is, the viewer must let go, think and open his or her mind to what is being seen, and mass culture is just the opposite of that. ABOUT THE ARTIST Andrés Nagel Tejada is a Spanish painter, sculptor and printmaker born in San Sebastian in 1947. Nagel completed his studies in architecture in 1972 in Pamplona. During this time as a student he began to work in engraving techniques. Since then he starts to travel to other European countries and the north of Africa. The Spanish scene at that time was dominated by abstraction and already had international recognition thanks to artists such as Chillida and Tapies, but Andres Nagel, who didn't feel identified with these trends did tune with the artistic movements that found in other countries such as Italy, Switzerland and Germany and soon opted for figurative art. A controversial artist, he rose to prominence with some of his works at the beginning of his career. In the mid 70's Nagel started to show his works in many exhibitions, both collectively and individually. Noteworthy among these events, his participation in the exhibition "New Spanish Painting" on Hastings Gallery in New York that introduced him to the American public. In 1978 also participates in a very important exhibition that pays tribute to the work of Joan Miró in Mallorca. During the 80's the artist works in numerous international exhibitions in cities like Varna, Dortmund, Bonn, Basel or Baghdad. In 1988 the Museum of Fine Arts in Bilbao exhibits the graphic work of Nagel, in this show a catalogue raisonné is edited. In 1989 he began his collaboration with the gallery Tasende California and participates in many American art fairs. Thereafter Andrés Nagel travels the world and his work is present in several countries including Mexico, Japan, Singapore, China, France, Canada, Germany or Italy. In 2003 Nagel inaugurates in Amorebieta (Vizcaya) a bronze sculpture of eight meters high that he entitles "La patata" (the potato). Unparalleled defender of the intellectual property, the transfer of this work for urban reasons is considered by Nagel as an insult to his work, leading him to sue the city council. In 2009 re-litigated against a porcelain company that, according to the artist, plagiarizes his designs and get benefits from them without his consent. Andrés Nagel's work can be defined within the postmodern figuration...

Brice Marden "Attendants, Bears, and Rocks" Matthew Marks Gallery, New York, 2002 Exhibition poster 17 x 22 inches Signed recto Exhibition poster for "Attendants, Bears, and Rocks" ...

Richard Serra Early Work (Hand Signed), 2013 Offset lithograph (Hand Signed by Richard Serra) Boldly signed by Richard Serra on the front 18 × 24 inches Unframed This print was published on the occasion of the eponymous exhibition at David Zwirner in 2013. It depicts Richard Serra in his studio in 1968. The print was hand signed by the artist on the occasion of his opening at Zwirner Richard Serra Biography Richard Serra was born in 1938 in San Francisco and lives and works in New York and the North Fork of Long Island. His first significant solo exhibition was held at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition took place at the Pasadena Art Museum in 1970. Serra has since participated in numerous international exhibitions, including documenta (1972, 1977, 1982, and 1987) in Kassel, Germany; the Venice Biennales of 1980, 1984, 2001, and 2013; and the Whitney Museum of American Art’s Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006. Solo exhibitions of Serra’s sculptural work have been held at numerous public institutions worldwide, including, among others, the Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d’Art Moderne, Paris, 1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Kunsthaus Zürich, 1990; CAPC Musée d’Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan’s Market, Rome, 2000; Pulitzer Foundation for the Arts, St. Louis, 2003; and Museo Archeologico Nazionale di Napoli, Naples, 2004. In 2005, The Matter of Time, a series of eight large-scale works by Serra from 1994 to 2005, was installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York, presented the retrospective Richard Serra Sculpture: Forty Years. Promenade, a major site-specific installation, was shown at the Grand Palais, Paris, for MONUMENTA 2008. In 2011, the artist’s large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. In 2014, the Qatar Museum Authority presented a two-venue retrospective survey of Serra’s work at the QMA Gallery and the Al Riwaq exhibition space, Doha, and East-West/West-East, 2014, was permanently installed in the Brouq Nature Reserve in the Zekreet Desert, Qatar. In June 2020, a new major sculpture by Serra was installed on the West Quad of Kenyon College, in Gambier, Ohio. In June 2022, the Glenstone Museum in Potomac, Maryland, will inaugurate a new building specially conceived to house a recent large-scale forged steel sculpture by Serra. Museum exhibitions that have focused on the artist’s drawings include Richard Serra: Tekeningen/Drawings 1971–1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971–1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen/Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; and Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008. A major traveling retrospective dedicated to the artist’s drawings was presented at The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and The Menil Collection, Houston (which was the organizing venue), in 2011–2012. The Courtauld Gallery, London, presented Richard Serra: Drawings for The Courtauld in 2013, and Richard Serra: desenhos na casa da Gávea was on view at Instituto Moreira Salles, Rio de Janeiro, in 2014. Richard Serra: Drawings 2015–2017, a significant overview of the artist’s recent works on paper, was on view at the Museum Boijmans Van Beuningen, Rotterdam, in 2017. Serra/Seurat. Drawings, an exhibition pairing a selection of Serra’s recent drawings alongside those by Georges Seurat, was presented at the Guggenheim Bilbao in 2022. Four Rounds: Equal Weight, Unequal Measure, Serra’s monumental sculpture which debuted at David Zwirner in 2017, is now on long-term view at Glenstone Museum, Potomac, Maryland, in a new building that was designed by Thomas Phifer in collaboration with the artist. Serra has been the recipient of many notable prizes and awards, including a J. Paul Getty Medal (2018) awarded in honor of extraordinary contributions to the practice, understanding, and support of the arts; the Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); Orden de las Artes y las Letras de España, Spain (2008); Orden pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Leone d’Oro for lifetime achievement, Venice Biennale, Italy (2001); Praemium Imperiale, Japan Art Association (1994); Carnegie Prize (1985); a National Endowment for the Arts Fellowship (1974); and a Fulbright Grant (1965). In 2013 in New York, David Zwirner presented Richard Serra: Early Work, a critically acclaimed exhibition that brought together significant works from 1966 to 1971. The accompanying catalogue extensively covers this period of the artist’s career with a compendium of archival texts and photographs and an essay by Hal Foster...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...