Patrick Hughes

Canaletto

2024

Offset lithograph on wove paper. Published in 2020 by Éditions du Centre Pompidou, Paris. Edition of 450. Within accompanying exhibition catalogue and slipcase. As issued. Signed and...

A hand painted three dimensional, Reverspective print, inspired by Paris. Produced in 2023. This print comes housed in a bespoke perspex display case. A limited edition of 75 pieces....

Woodcut on BFK Rives paper, produced in 2020. Edition of 100. Mint condition, unframed. Signed and numbered in pencil by Nicolas Party.

Drypoint etching on BFK Rives 270 gsm paper. Limited edition of 100. Signed and numbered in pencil.

Etching on BFK Rives paper. Produced in 2020. Edition 36/68. Published by Paragon Press, London. Framed in artist's moulding. Signed lower right and numbered verso in pencil by Grays...

Kenny Schachter "Pay Nothing". Archival digital print on wove paper. Published in 2020. Edition of 60. Hand signed and numbered by the artist, verso. ‘At the height of Covid, various activist groups arose to protect artists and others from unlawful evictions for non-payment of rent due to their lack of earning capacity by an economy that all but ground to a halt—other than for the multinationals that always seem to prosper in times of crisis. One such grassroots advocacy initiative in April of 2020, was CANTPAYMAY which I spotted on artist Nicole Eisenman’s Instagram feed by way of a poster she created which proclaimed: “RENT STRIKE! STAND IN SOLIDARITY WITH THOUSANDS OF NEW YORKERS ON RENT STRIKE DURING #CANTPAYMAY. WITH MILLIONS OF NEW YORKERS OUT OF WORK, WE CAN AND MUST #CANCELRENT. SIGN THE RENT STRIKE PLEDGE TO JOIN THE MOVEMENT!” Pay Nothing is an appropriation of Ed Ruscha’s 2003 painting Pay Nothing Until April; though Ruscha attempts to disclaim meaning in his text works, it clearly references the loaded notion of having to pay-up in April, which is when both State and Federal taxes are owed across the country, as all US taxpayers are only painfully all too aware. “Says Ruscha: ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’” @tate In the context of the Covid pandemic, Pay Nothing signifies the fact that if a population is deprived of the means to earn a living, we still must eat and have a roof over our heads to feed and shelter ourselves and families. For, if we don’t have the ready capacity to provide, as Malcom X...

Antony Gormley Horizon Field (box set of two signed monographs held in slipcase), 2011 Hardback monograph, numbered and each hand signed E...

Maya Lin: Systematic Landscapes poster (hand signed and dated), 2006 Offset lithograph poster Hand signed and dated 2006 in black marker by Maya Lin on the front 16 1/2 × 26 inches U...

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Robert Irwin Being and Circumstance Notes Toward a Conditional Art, 1985 Hardback monograph with dust jacket (hand signed and dated 2015 by Robert Irwin) Boldly signed and dated May...

Robert Irwin Getty Garden (hand signed and inscribed by Robert Irwin), 2002 Hardback monograph with dust jacket Hand signed and inscribed by Robert ...

Cindy Sherman Hamptons International Film Festival poster (hand signed and inscribed by Cindy Sherman), 2006 Offset lithograph poster Bold signature and inscription in black marker by Cindy Sherman on the front 32 × 24 inches Unframed This print was made for the 14th Hamptons International Film Festival from October 18-22, 2006. It was boldly inscribed in black marker to Peter by Cindy Sherman. Publisher: Hamptons International Film Festival Cindy Sherman Biography: Born in 1954 in Glen Ridge, New Jersey, Cindy Sherman lives and works in New York NY. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades. Coming to prominence in the late 1970s with the Pictures Generation group alongside artists such as Sherrie Levine, Richard Prince and Louise Lawler, Sherman studied art at Buffalo State College in 1972 where she turned her attention to photography. In 1977, shortly after moving to New York, Sherman began her critically acclaimed Untitled Film Stills. A suite of 69 black and white portraits, Untitled Film Stills sees Sherman impersonate a myriad of stereotypical female characters and caricatures inspired by Hollywood pictures, film noir, and B movies. Using a range of costumes, props and backdrops to manipulate her own appearance and to create photographs resembling promotional film images, the series explores the tension between artifice and identity in consumer culture which has preoccupied the artist’s practice ever since. Sherman continued to channel and reconstruct familiar personas known to the collective psyche, often in unsettling ways. In 1981, the artist created her Centerfolds, a series of photographic double spreads inspired by men’s erotic...