Thomas Ruff Art

A contemporary black-and-white photograph by Roberta Fineberg that captures the San Remo building and New York City skyline after dark from the urban oasis of Central Park. Focusing on the beaux-arts building towers or twin Greek temples...

large scale photograph of iconic American vintage car with crimson red sheetmetal paint and custom logo tag Marshall by Frank Schott 25 x 40 inches (64 x 102cm) signed edition of ...

large format photograph of glossy cherry red vintage private airplane on airport runway tarmac Red Jet by Frank Schott 48 x 74 inches (122 x 188cm...

In this unique Michael Hurson monotype, stylized Greco-Roman pillars flank a plane of crosshatched and dotted texture in black, brown, and purple ink. The...

Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...

This is a one-of-a-kind original monoprint, made on a press by contemporary Japanese woman artist Kyoko Takagaki. Takagaki studied art at Temple University in Philadelphia, PA, USA. ...

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on the plate, as this one is. As a group they explored abstraction in the 1930s, while maintaining their individual styles. The plan was to make an edition of 500 portfolios although it seems highly unlikely that this was accomplished. The Whitney Museum of American Art has a set. The dimensions, 12 x 9 1/4 inches, are for the sheet; this work signed and dated in the plate. Ray Kaiser...

“Object Permanence” Photography 24" x 36" inch Edition of 7 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag Not framed. Ships in tube. From "Park Drive" ser...

"Syrens No 2" Landscape Nude Photography 24" x 36" in Ed. 1/15 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Editio...

Theo Tobiasse (1927-2012) "Woman" Original Color Lithograph Signed / Numbered c.1960s Titled "Woman" Dimensions 27" x 20.5". The frame measures 36.5" x 30.25". Signed and numbered...

Nobody depicted Americana quite like Mel Ramos: he is at once insolent and ecstatic in the face of this raging consumerist culture. He synthetizes artefacts with nubile women that pr...