Nicoletta Munroe

Metri Saint Placide, Blue. Paris metro series

1998

This was from Muse X publishers. It came in a plastic bag signed Emily Cheng. (the plastic bag is not included) It is on Fuji crystal photo paper. It depicts two Asian faces in a cub...

This was from Muse X publishers. It came in a plastic bag signed Emily Cheng. (the plastic bag is not included) It is on Fuji crystal photo paper. It depicts two Asian faces in a cubist, fractured way, with a woman (or man) holding a photograph over his/her face. It is a proof print and is not signed or numbered. Emily Cheng (born in New York City, in 1953) is an American artist of Chinese ancestry. She is best known for large scale painting with a center focus often employing expansive circular images radiantly colored, radially composed. Cheng received her BFA in 1975 from the Rhode Island School of Design and attended the New York Studio School. Cheng has exhibited widely in the US and in Asia. In 2011, Cheng created Charting Sacred Territories, an exhibition exploring world religions which opened in the Museum of Contemporary Art Taipei (MOCA) , Taiwan (2011) and traveled to Hanart TZ Gallery in (2015), Shenzhen Art Museum, Shenzhen, China, (2015) and in Europe at the Palais Liechtenstein Feldkirch, Austria (2019). Cheng has had numerous solo shows in the US and in Asia and is represented by Hanart TZ Gallery in Hong Kong. In 2007, Timezone 8 published a monograph of Emily Cheng titled, Chasing Clouds, a decade of studies, with essays by Kevin Powers and Johnson Chang. Emily Cheng has lived and worked in New York City since 1977 and teaches Asian Art History at the School of Visual Arts. Influenced by a wide array of eastern and western artists including Van Gogh, Gauguin, Manet and Giacometti as well as de Kooning, early Philip Guston and Jackson Pollock. Nicolas Carone and Leland Bell were both among her teachers as well as Elaine de Kooning. Selected solo exhibitions Ille Arts, Amagansett, New York, Shenzhen Art Museum, Shenzhen, China, (2015) Hanart T.Z. Gallery, Hong Kong, Zane Bennett Contemporary, Santa Fe, New Mexico, (2013) Museum of Contemporary Art (MOCA) Taipei , Taiwan (2011) Louis Vuitton Maison, Kowloon, Hong Kong, (2010) Ayala Museum Makati, Philippines, (2006) Plum Blossom Gallery, New York, NY, (2004) Schmidt/Dean Gallery, Philadelphia, PA Byron Cohen Gallery, Kansas City, MO (2001) Metropolitan Museum of Manila , Philippines (1997) John Post Lee Gallery, New York, NY, Projects Room (1997) Contemporary Arts Center , Cincinnati, Ohio, 1994 David Beitzel Gallery, New York, NY, (1992) Lang & O'Hara Gallery, New York, NY, The Bronx Museum of the Arts , Bronx, NY, (1989) White Columns , New York, NY, (1985) Selected group exhibitions Art Basel Hong Kong , (Hanart Gallery) , Hong Kong, 2017 China Institute, New York, NY, 2014 Beijing Art Fair, Beijing, China, 2013 Museum of Chinese in America New York, NY, 2010 Kidspace, MASS MoCA , Williamstown, MA, 2010, 2005 Museum of Contemporary Art , Shanghai, China, 2009 Guangzhou Triennial, Guangdong, China, 2009 Museum of Art, Guangzhou, China, 2008 Contrast Gallery, Shanghai and Beijing, China, 2008 University of South Florida Contemporary Art Museum , Tampa, Florida, 2006 Hong Kong Arts Centre , Hong Kong, 2004 American Academy of Art , New York, New York, 2004 Longmarch Project, Beijing, China, 2002 Sotheby’s , New York, NY, 2001 Newhouse Center, Snug Harbor Cultural Center, Staten Island, NY, 2000 Katonah Museum of Art , Katonah, NY, 2000 National Academy and Museum, NY, 2000 Municipal Museum of Gyor, Hungary, 1999 New Museum of Contemporary Art , New York, NY, 1998 De Cordova Museum and the Computer Museum , Boston, MA, 1994 International Graphic Biennial, Muveszeti Museum, Hungary, 1995 Yerba Buena Center for the Arts , San Francisco, CA, 1994 Drawing Center, NY; traveled to Corcoran, Washington D.C., Santa Monica Museum of Art, Santa Monica CA; The Contemporary Art Museum St. Louis, St. Louis MO; American Center, Paris, France, Cone Editions Gallery, New York 1990 Anina Nosei Gallery, New York, 1988 Greenville County Museum of Art , South Carolina, 1988 North Carolina Museum of Art , Hallwalls , Buffalo, NY, 1988 Grace Borgenicht Gallery , New York, 1986 Tibor de Nagy, New York, 1985 Asian American...

This was from Muse X publishers. It came in a plastic bag signed Emily Cheng. (the plastic bag is not included) It is on Fuji crystal photo paper. It depicts two Asian faces in a cub...

these are original (signed with initials) proof prints c-print on Fuji crystal archive paper. there is some minor wear to the surface but it cannot be photographed and will probably not be visible when framed The National Museum of Women in the Arts presents P(art)ners: Gifts from the Heather and Tony Podesta Collection, an exhibition of 28 contemporary photographs and sculptures drawn from the more than 300 works the couple has donated to the museum. P(art)ners demonstrates the Podestas' shared collecting vision and honors their participation in the inaugural TEDWomen conference in Washington D.C. The Podestas' collaborative collecting practice inspired the NMWA staff to hand them the curatorial reins for this exhibition. The two have articulated the themes for P(art)ners and selected the works. Images of the female body or allusions to it (such as seen in G-Force Dive, a witty sculpture by E.V. Day (American, b. 1967) made from women's thong underwear stretched into the shape of fighter jets) present multiple views of contemporary feminine identity. These works exploring the female body are paired with photographs of architecture. Although they are built by and for people, the interior spaces lack human presence and appear surprisingly abstract. The Podestas note that images of constructed environments complement those of the human figure: "They are what remain of us when we're not there." Heather and Tony Podesta each head their own government relations firm in Washington, D.C., but they travel to contemporary art fairs and biennials around the world to discover outstanding new artists. P(art)ners features a striking series of photographs about travel by Nicoletta Munroe (American, b. 1968). For her "Paris Métro" series, Munroe, who has also worked as an art director in Hollywood, shot the brightly colored seats on the platforms of Paris's subway system. The rows of seats seem to stand in for the people who fill the stations each day. SURVIVAL L.A. A Group Show with Lisa Adams, SE Barnet, Kaucyila Brooke, Kathy Chenoweth, Martin Durazo, Kathleen Johnson, Hillary Mushkin, Nicoletta Munroe, Susan Otto, Christopher Pate, Steve Roden, Thaddeus Strode and Jody Zellen Raid Journal essays by: Holly Myers and Gordy Grundy UnNaturally features over 40 visually stunning works by fifteen artists who employ artificial materials to create simulations of nature that explore the frequently blurred boundary between culture and our environment, raising provocative questions about the mediated environment in which we live. UnNaturally plays on our nostalgia for an idealized pre-industrial past in which human beings and nature coexisted harmoniously in an unspoiled landscape. Artists includes Chris Astley, Gregory Crewdson, Jacci Den Hartog, Allan deSouza, Keith Edmier, Iñigo Manglano-Ovalle, Jason Middlebrook,Nicoletta Munroe, Roxy Paine...

Shimon Attie (American, b. 1957), Untitled Memory (Projection of Marsha A.) Ektacolor photograph, 1998, from the Untitled Memory series, Gallery label to verso, Jack Shainman Gallery, New York matted and framed. Frame dimensions 27 3/4 x 32 1/4 in, photo 25 X 31 Provenance: from the Estate of the late Ron and Anne Dees, Fayetteville, North Carolina Ron and Anne Dees were longtime collectors, lovers, and patrons of art. Starting in the late 1990s, they began their art acquisition and collection, focusing substantially on contemporary art. Their affinity for art went far beyond simply collecting and displaying. Ron served as a docent at the esteemed Corcoran Gallery of Art in Washington, DC, from the late 1990s into the 2000s. In the series "Untitled Memory," Attie revisited his former (and then-deserted) apartment in San Francisco, projecting black-and-white snapshots of his friends and family in spaces that they previously occupied. The desaturated figures have a specter-like appearance and are often depicted in repose or rest, as if in a perpetual state of waiting. The juxtaposition between the projected images and the empty rooms reminds viewers of the fragility of memory, and how sites are activated/changed by presence and absence. Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Rome Prize in 2001 and a Visual Artist Fellowship from Harvard University's Radcliffe Institute for Advance Study in 2007. His work spans a variety of media, including photography, site-specific installation, multiple channel immersive video installation, performance, and new media. Much of Attie's practice explores how a wide range of contemporary media may be used to re-imagine new relationships between space, time, place, and identity. Much, though not all, of Attie's work in the 90s dealt with the history of the second world war. He first garnered significant international attention by slide projecting images of past Jewish life onto contemporary locations in Berlin. More recent projects have involved using a range of media to engage local communities to find new ways of representing their history, memory and potential futures. Attie's artworks and interventions are site-specific and immersive in nature, and tend to engage subject matter that is both social, political and psychological. In 2013, Five monographs have been published on Attie's work, which has also been the subject of a number of films, which have aired on PBS, BBC, and ARD. Since receiving his MFA Degree in 1991, Attie has realized approximately 25 major projects in ten countries around the world. Most recently, in 2013-14, Shimon Attie was awarded the Lee Krasner Lifetime Achievement Award in Art. He was born in 1957 and received an MFA in 1991. In 1991 he moved to Germany from his previous home in Northern California, and began to make work initially about Jewish identity and the history of the second world war. His work later evolved to engage broader issues of memory, place and identity more generally. Shimon Attie moved to New York City in 1997. Shimon Attie's work has been extensively reviewed by a wide variety of publications, including features and/or reviews in The New York Times, The Washington Post, The Los Angeles Times, Art in America, Art News, Art Forum, The Village Voice, The Boston Globe, and many others. Yasaman Alipour, writing in "The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture", on Shimon Attie's solo exhibition "Facts on the Ground" at Jack Shainman Gallery in New York City: Attie achieves something profound: he presents a unique opportunity to contemplate Israel/Palestine without the distraction that is simultaneously a manifestation of the limitations of visual of written language and the possibilities of their alliance." Norman Kleeblatt, writing in a cover story for "Art in America" "Like many other artists in the wake of Marcel Broodthaers...

Shimon Attie (b. 1957) Joachimstrasse, Ecke, Auguststrasse, Berlin, 1994 Edition 3/3 Dye coupler print on Kodak Ektacolor paper 27 x 34 inches (68.6 x 86.4 cm) (image) 34 x 40 inches (sheet) Presents well. Framed Dimensions 36.25 X 42.5 From series The Writing on the Wall. Attie projected found pre-war images of Jewish street-life in Berlin onto the same or nearby addresses in 1992/1993. Through this intervention, fragments of the past were introduced into the visual field of the present; long destroyed Jewish community life were visually simulated, momentarily recreated. The Writing on the Wall project was realized in Berlin’s former Jewish quarter, the Scheunenviertel, located in the Eastern part of the city, close to the Alexanderplatz. At the heart of Berlin, the Scheunenviertel was a center for eastern European Jewish immigrants from the turn of the century. The few historical photographs which remained after the Holocaust reflect the world of the Jewish working class rather than that of the more affluent and assimilated German Jews who lived mostly in the western part of the city.The juxtaposition between the projected images and the empty rooms reminds viewers of the fragility of memory, and how sites are activated/changed by presence and absence. Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Rome Prize in 2001 and a Visual Artist Fellowship from Harvard University's Radcliffe Institute for Advance Study in 2007. His work spans a variety of media, including photography, site-specific installation, multiple channel immersive video installation, performance, and new media. Much of Attie's practice explores how a wide range of contemporary media may be used to re-imagine new relationships between space, time, place, and identity. Much, though not all, of Attie's work in the 90s dealt with the history of the second world war. He first garnered significant international attention by slide projecting images of past Jewish life onto contemporary locations in Berlin. More recent projects have involved using a range of media to engage local communities to find new ways of representing their history, memory and potential futures. Attie's artworks and interventions are site-specific and immersive in nature, and tend to engage subject matter that is both social, political and psychological. In 2013, Five monographs have been published on Attie's work, which has also been the subject of a number of films, which have aired on PBS, BBC, and ARD. Since receiving his MFA Degree in 1991, Attie has realized approximately 25 major projects in ten countries around the world. Most recently, in 2013-14, Shimon Attie was awarded the Lee Krasner Lifetime Achievement Award in Art. Judaica subject matter. He was born in 1957 and received an MFA in 1991. In 1991 he moved to Germany from his previous home in Northern California, and began to make work initially about Jewish identity and the history of the second world war. His work later evolved to engage broader issues of memory, place and identity more generally. Shimon Attie moved to New York City in 1997. Shimon Attie's work has been extensively reviewed by a wide variety of publications, including features and/or reviews in The New York Times, The Washington Post, The Los Angeles Times, Art in America, Art News, Art Forum, The Village Voice, The Boston Globe, and many others. Yasaman Alipour, writing in "The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture", on Shimon Attie's solo exhibition "Facts on the Ground" at Jack Shainman Gallery in New York City: Attie achieves something profound: he presents a unique opportunity to contemplate Israel/Palestine without the distraction that is simultaneously a manifestation of the limitations of visual of written language and the possibilities of their alliance." Norman Kleeblatt, writing in a cover story for "Art in America" "Like many other artists in the wake of Marcel Broodthaers...

Interpretation of the French flag presenting the French nation by applying a PixelSort effect. Artwork will be printed on highest quality photographic paper, glued onto an aluminiu...

Interpretation of the Canadian flag reflecting the diversity of the nation Artwork will be printed on highest quality photographic paper, glued onto an al...

The Archipel series is built from compositions constructed from dynamic geometric figures and contrasting primary colours. Levêque is inserted in the modernist photographic heritage ...

The Archipel series is built from compositions constructed from dynamic geometric figures and contrasting primary colours. Levêque is inserted in the modernist photographic heritage ...

The Archipel series is built from compositions constructed from dynamic geometric figures and contrasting primary colours. Levêque is inserted in the modernist photographic heritage ...

The Archipel series is built from compositions constructed from dynamic geometric figures and contrasting primary colours. Levêque is inserted in the modernist photographic heritage ...