Jozef Bajus Mixed Media

Laurence Vail Untitled Bottles, circa 1942 Collaged glass bottles 8 3/4 x 5 inches, 12 1/4 x 3 3/4 inches Provenance The artist Art of the Century, New York Dwight Ripley Estate of Dwight Ripley By Descent, New York Acquired from the above, 2025 Exhibited New York, Art of This Century, Laurence Vail: Bottles, December 1942. Greenwich, CT, Bruce Museum, Connecticut Modern: Art, Design and the Avant-Garde, 1930-1960, September 23, 2023-January 7, 2024. Literature Susan Davidson, Peggy Guggenheim and Frederick Kiesler: The Story of Art of This Century, Guggenheim Museum Publications, 2004, p. 319-320. Laurence Vail was born in Paris on January 28, 1891, to American parents. His father, Eugène Vail, was a painter, renowned for his depictions of Brittany and Venice. For many years throughout his childhood, Vail accompanied his father on his travels to Venice. Having initially studied in France, he moved to England to study literature at Oxford University. Upon his return to Paris, he devoted himself to writing plays and essays, translating books from French, painting, sculpting, and creating collages. In the late 1920s he was considered a main figure of Paris's flourishing intellectual and social circles, to the extent that he became known as the "King of Bohemia." He associated with writers and artists, including Marcel Duchamp and Man Ray, who crowded the cafes of Montparnasse. In 1922 he married Peggy Guggenheim, who was, in his eyes, a young woman to whom he could teach art, life, and literature. After the birth of their first son, Sindbad, the couple travelled to Italy and Egypt. In 1926 they went to Switzerland, where their second child, Pegeen, was born. The family settled in Pramousquier in the south of France, where Vail started writing the novel Murder! Murder!, a cutting satire about his marriage, published in 1932. He also continued to paint, creating a series of works which were exhibited for the first time in 1926 at the Parisian boutique on the rue du Colisée managed by Guggenheim and her business partner, Mina Loy...

Ragisména which in Greek means cracked, has its materiality manifested through the desire to recreate and make feelings, memories and mythology tangible in the physical world. The wo...

Joe Garnero’s medium of choice for his winding abstract wood sculptures is reclaimed Redwood roots, which he finds along the northern California coast. The distinct curving shapes of...

Ragisména which in Greek means cracked, has its materiality manifested through the desire to recreate and make feelings, memories and mythology tangible in the physical world. The wo...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Drawing inspiration from ancient ceramic traditions, including Korean pottery and the Japanese wabi-sabi aesthetic, Laura Pasquino (Grège Gallery) explores the beauty of imperfection...

The artistic collaboration of Kelly Bugden + Van Wifvat has produced a thought-provoking body of sculptures, paintings, and constructions. Nature, childhood memories, and everyday ar...

Dimitri Hadzi Uxmal, 1991 Cast bronze on custom made granite base 17 × 30 1/2 × 14 inches The title UXMAL, refers to the ancient Mayan city of Uxmal, which is known for its "Pyramid of the Magician" Provenance: Acquired by the original owner from the prestigious Gremillion Gallery in Houston, Texas (accompanied by a copy of the original receipt) Measurements: Base: 26.5 by 11 by 1.75 inches Work longest 30.5 inches Widest 14 inches Highest. 17 inches More about Dimitri Hadzi" Derived from the figure and mythic narratives, Hadzi’s sculpture references antiquity and classical artifacts – abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures. “I was interested in mythology, and I was interested in movement,” Hadzi remarked on his years in Rome, “I was attempting through formal methods to exaggerate sexual tension or apprehension. Suddenly I was myself in an atmosphere of freedom.” [1] Powerfully rendered in bronze his sculptures convey raw emotion, brute strength and mass, tempered with a delicate rush of whimsy, vivacity and sensuality. Born in New York City on March 21, 1921, Hadzi graduated from Cooper Union in 1950 and received a Fulbright Fellowship in the same year. After studying sculpture in Greece, he moved to Rome under the GI Bill where he lived for twenty-five years. Hadzi returned to the U.S. where he taught at Harvard University for fourteen years. He continued to create sculpture until his death in 2006. Hadzi is included in the permanent collections of the Museum of Modern Art; the Whitney Museum of American Art; the Museum of Fine Arts, Boston; the Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Receiving over twenty sculpture commissions, Hadzi’s work appears in public squares, concert halls, federal and private plazas, and universities throughout the world. --------------- [1] Elsen, Albert. “On Artistic Freedom: An Interview,” Dimitri Hadzi, (New York: Hudson Hills Press, 1996), 30. Additional Biography: Dimitri Hadzi (1921 – 2006) is among the most distinguished modernist sculptors, creator of works in bronze and stone that are powerfully abstract and expressionist in character. His contribution to the international language of sculpture continues to influence and inspire through permanent installations and collections, and exhibitions worldwide. Born to Greek-American immigrant parents in New York City, he had a talent for drawing at an early age and won a prize for his young ability. But, it wasn't until after serving in the Air-force in the South Pacific during WWII that he turned his sights fully to painting and sculpture, going on to study both at Cooper Union. Eventually, he would become a mainstay of the Cambridge, MA art community. He was a Guggenheim Fellow (1957), the winner of the Venice Biennale Award (1962), and the Rome Prize (1974). His most notable sculptures are: Copley Place Waterfall (Boston, MA), Owen Glass Co. (Toledo, OH), as well as Thermopolis, adjacent to Boston’s City Hall Plaza, and the former Omphalos in Harvard Square (Cambridge, MA). Hadzi is included in the permanent collections of the Museum of Modern Art; National Gallery of Art; Whitney Museum of American Art; Museum of Fine Art, Boston; Hirshhorn Museum and Sculpture Garden; The Phillips Collection and the Guggenheim Museum. Additionally, Hadzi was also a prolific painter, and printmaker. He also taught at Harvard University for over a decade. Famously, David Hockney attended one of Hadzi’s classes at the Carpenter Center at Harvard, where Hadzi served as director. The two of them spent time together painting and discussing techniques. Hockney gifted Hadzi one of his paintings. He worked alongside his good friend, Nobel Prize winning Irish poet...

Al Loving Have a Nice Day, 1992 Mailbox, acrylic paint, rag paper 8 1/2 inches high x 6 1/2 inches wide x 18 3/4 inches deep Al Loving studied painting at the University of Illinoi...

The artistic collaboration of Kelly Bugden + Van Wifvat has produced a thought-provoking body of sculptures, paintings, and constructions. Nature, childhood memories, and everyday archetypes take shape in unexpected combinations of materials. The works emerged as the tactile and visual senses channeled the ritualistic power and materiality of selected artifacts. The resulting objects exist in a space between what they were originally and what they could become. A wheel, for example, is distorted as if seen through a prism. Their collaboration grew out of years of shaping materials into one-of-a-kind objects. Intuitively, the process of creating with their hands took an inward turn. Prism is a travelogue through memories and dreams, yielding abstract forms that capture moments of transformation. Van Wifvat grew up with eight siblings and studied sculpture and environmental design in Minneapolis at MCAD. In 1979, he opened a storefront art gallery to promote the work of local artists. The space featured printed materials—art books, periodicals, fanzines, and postcard’s. Wifvat moved to New York in 1983 to study at the Fashion Institute of Technology and Parsons. In 1987, he co-founded Van Gregory & Norton design studio, specializing in convex mirrors and curtain hardware...

Ragisména which in Greek means cracked, has its materiality manifested through the desire to recreate and make feelings, memories and mythology tangible in the physical world. The wo...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...