George Sugarman

Tulip

c. 1990

RONALD BLADEN V (Mid Scale), 1973 Painted aluminum 60 1/2 x 106 x 8 inches Edition 1 of 3

GEORGE SUGARMAN Gate , 1994 Acrylic on aluminum 34 1/2 x 24 x 21 inches

GEORGE SUGARMAN Untitled, 1995 Acrylic on aluminum 23 x 16 x 27 inches

GEORGE SUGARMAN Silent Welcome, 1987 - 88 Acrylic on aluminum 16 x 28 x 14 inches Sugarman explained of his work: All art is metaphor…sheer physical stimulation or the insi...

Acrylic on aluminum

CLEVE GRAY Silver Voyage, 1967 Acrylic on canvas with silver enamel 79 x 80 inches Signed, titled and dated

This is a one of a kind original wall sculpture by San Diego artist, Duke Windsor. Its dimensions are 13.5"x16.6". It is made from Gold Leaf and Plaster. A certificate of authenticit...

This piece titled "Tuck Hing Co." is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Leshko. This piece measures 8"h x 0.75"w x...

This piece titled "Must Have Been A Bad Tenant" is original artwork made from paper, inkjet print, enamel, wire, chain, aluminum tube, and pastel by Drew Les...

Pedro Friedeberg Butterfly Chair. Gold leaf, Ink and acrylic over wood. Signed by the artist. Includes certificate of authenticity.

Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...

The language featured on this work of art reads "highest moment of impulse... high collateral glory." John Milton