Custom leather box: H: 13 5/8” x W: 9 3/4” x D: 1 7/8”
Custom cloth case: H: 14 11/16” x W: 10 7/16” x D: 2 9/16”
These days, the Japanese photographer Keizo Kitajima, born in 1954, lives in Tokyo and specializes in urban photography. But in 1981, he spent about six months in New York, hanging out in New Wave clubs or roaming the streets, taking pictures — often by simply pointing and shooting. More than three dozen of these gritty black-and-white images form his robust New York gallery debut. The lush blacks of Mr. Kitajima’s images, which were initially published in a book and only recently printed, bring to mind his friend and mentor Daido Moriyama. But Mr. Kitajima’s aesthetic, at least here, is all about round edges and people who are anything but average. Some are hard-working immigrants whose faces loomed close to Mr. Kitajima’s lens as they hurried along the street. Others are celebrities (Mick Jagger) or soon-to-be celebrities (the young Madonna, when her face still had pores), drag queens or denizens of the Mudd Club or CBGB’s. Some are simply people waiting for something to happen, like the rogues’ gallery of five men behind a police barrier on Fifth Avenue.
Hubert Schmalix “Mount Washington” Oil on Canvas 2005/2006
HUBERT SCHMALIX (1952-) Austria
Mount Washington 2005/06
Oil on canvas
Signed and dated on back: Schmalix 05 06
Provenance: Hubert Schmalix Vienna
For related works by Hubert Schmalix see: Hubert Schmalix, Lóránd Hegyi exhibition catalog (Museum moderner Kunst Stiftung Ludwig Wien) November 19, 1994 – January 1995.
H: 69” x W: 51”
Hubert Schmalix was born in Graz, Austria, on December 17, 1952 and studied at the Vienna Art Academy from 1971 to 1976. By 1979 Schmalix was showing work at the forward-looking exhibition ‘Europa 79 – Kunst der 80er Jahre’ in Stuttgart. In 1983 the London Tate Gallery invited Schmalix to present work at ‘New Art’, an important survey of contemporary art. Schmalix has become well-known world-wide as an exponent of ‘New Art’, working with a retrospective glance at both classical art history and modern art. Schmalix focuses on the world of things and the human figure. Although the expressive gesture was the dominant feature of his 1980s work, it yielded early in the 1990s to stringent tectonic composition. In 1984 Hubert Schmalix went to the Philippines and on to the US, moving to Los Angeles in 1987. In 1986-87 Schmalix taught at the Academy for the Decorative and Applied Arts in Vienna and from 1997 he has been a professor at the Vienna Art Academy. Schmalix is a visiting professor at the University of California Los Angeles (UCLA). In 1993 his work was featured at the Venice Biennale and in 1998 he was awarded the Fine Art Prize of the City of Vienna. Schmalix has done several large fresco cycles in Salzburg and his work has been shown extensively at numerous international solo and group shows and most recently at Art Basel 2006.
Roycroft / American Arts & Crafts Pair of Candlesticks c. 1915
ROYCROFT COPPER SHOP East Aurora, N.Y.
Pair of candlesticks c. 1915.
Hand wrought and textured copper, silver-plated.
Marks: impressed R, in orb with cross, ROYCROFT
For more information see: The American Arts & Crafts Movement in Western New York 1900-1928, Bruce A. Austin (Rochester Institute of Technology, 1992); Arts & Crafts Movement in New York State 1890’s – 1920’s, Coy Ludwig (Hamilton, N.Y.: Gallery Association of New York, 1983).
Tim Liddy Who Can Beat Nixon (1970) Presidential Sweepstakes 2006 Oil and enamel on copper, plywood back
TIM LIDDY
“Who Can Beat Nixon” (1970) Presidential Sweepstakes 2006
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1970” 2006, red circular ring
Provenance: William Shearburn Gallery (St. Louis, MO)
H: 11 ¾” x W: 9” x D: 2”
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.
@hd_jewels