See Alice Jump Skate Decks by Henry Taylor

The 4th is released in a limited edition size of 100. Based on a 2012 13-feet tall piece composed of two stacked panels. As Tatiana Istomina describes the work, ‘The upper [panel] sh...

Available in a limited edition of 100, Cicely and Miles Visit the Obamas, captures a scene where Miles Davis and Cicely Tyson, stand in front of the White...

100% sustainably sourced hard rock maple 8" w. x 31.875" l. edition of 400 hand-numbered with screen-printed signature packaged in cotton dust bag hanging hardware not included This...

100% sustainably sourced hard rock maple 8" w. x 31.875" l. edition of 400 hand-numbered with screen-printed signature packaged in cotton dust bag hanging hardware not included This...

Fabricated by The Skateroom Based on 28 MILLIMÈTRES, WOMEN ARE HEROES, ACTION IN KIBERA SLUM, « IN TO THE WILD », KENYA, 2009 One skateboard deck 7-ply Canadian Maplewood with scr...

The Skateroom w/ ©Keith Haring Foundation set of 3 skateboard decks 7-ply Canadian Maplewood with screen-print Measures: 31 H x 8 inches Mounting hardware included Open edition ...

"Alice Cisternino creates ethereal compositions, here in this moment but likely to shift in the next. She is compelled by moments of transition, delicate yet unavoidable shifts, the ...

This wall sculpture balances the strength and delicacy of its materiality through the texture of the broken and whole ceramic links. These works are assembled from the collected ruin...

Abstract painting using acrylic on paper by contemporary British Artist John Taylor. Framed in a vintage frame. Signed by the artist. From a collection of four pieces. John Tay...

A framed C-print photography by British artist Sam Taylor-Wood (1967-). Entitled "Self-Portrait in a Single-Breasted Suit with Hare", the print was made in 2001 and its unique in this size at 9" h x 6" w. Presented in a wood frame. Provenance: Matthew Marks Gallery, NYC (label verso). Artist Biography (courtesy of Guggenheim Musuem Collection) Sam Taylor-Wood B. 1967, LONDON Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; the latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music, film, and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, creating a party-like environment in the gallery where the viewer is privy to these personal exchanges. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes the well-known art historical subject. Her video David (2004) evokes similar connotations and intimately unveils the much-photographed dynamic soccer icon David Beckham in deep sleep. Time and speed are often centerpieces of her videos, whether the rapid acceleration of a bowl of fruit’s decay process in Still Life (2001) or the illusion of frozen time in The Last Century (2006), for which the actors are in fact filmed in real time but remain impossibly still. Taylor-Wood’s first narrative film, Love You More (2008), borrows its title from a song by the 70s punk band Buzzcocks and chronicles the story of two teenagers who hear the recently released song together in a record store. Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995, 2001, 2004, and 2008), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), Musée d’Art Contemporain de Montréal (2002), Russian Museum in St. Petersburg (2004), Museum of Contemporary Art in Sydney (2006), Museum of Contemporary Art in Cleveland (2007), and Museum of Contemporary Art in Houston...

“Abstract Fables,” silkscreen by Henry Mark, American, 1953. Edition of 22, stamped with initials, and signed on verso.

This wall sculpture balances the strength and delicacy of its materiality through the texture of the broken and whole ceramic links. These works are assembled from the collected ruin...