FRED TOMASELLI, Sept. 15, 2005, 2010

FRED TOMASELLI, Sept. 15, 2005, 2010
15 x 17.4 inches
edition 80, signed, numbered
screenprint, inkjet print
published by James Cohan Gallery, New York  $ 1,200.- December 2012

On the September 15, 2005, Fred Tomaselli alters a more than disturbing front page image of bomb victims in Baghdad, drawing over a photograph with a colorful flower pattern. The swirling vines, reminiscent of traditional Islamic arabesques, distract from the horror of the subject, a suicide bombing that killed nearly 150 people in Iraq.

JONATHAN MEESE, Scarlettierbaby’s Raspberry Mouth Spirit, 2010

   

JONATHAN MEESE, Scarlettierbaby’s Raspberry Mouth Spirit, 2010
bottle 1/2 litre 40% vol., grey cardboard box
edition 40, signed
comes in original cardboard box
published by Brigade Commerz, Pforzheim, Germany
€ 240,- plus € 18,- Track & Trace EU registered mail
inv.JMee 10xx?

 


Jonthan Meese’s adapted label of ‘Scarlettierbaby’s Raspberry Mouth Spirit’, 2010

UGO RONDINONE, Nothing but the night, 2010

UGO RONDINONE, Nothing but the Night, 2010
10 × 10 cm, unique series of 10
published by NBK / Neuer Berliner Kunstverein, Berlin, Germany
not available  

In New York based mixed-media artist makes works exploring themes of fantasy and desire. Many of his pieces invite the viewer into a meditative state like the blurred, brightly colored, concentric rings of his target-shaped paintings; or his strictly black and white landscapes of gnarled trees that seem to bristle with questionable energy. His large rainbow signs are just as enigmatically alluring with their imperative affirmations of “Hell, Yes!” or “Our Magic Hour.” These signs seem to point to some hidden aspect of our reality and history. One sign, “Dog Days Are Over,” proclaims an end to a period of turmoil, but what that period is remains unclear. The signs encapsulate and make palpable an unnamed collective desire, and, in turn, may inspire a new one, e.g. this voyeuristic piece ‘Nothing but the night’.

History of prices:
NBK / Neuer Berliner Kunstverein, Berlin, Germany     € 1.600,- December 2012

PAOLA PIVI, It’s a Cocktail Party, 2009 and 2010

PAOLA PIVI, It’s a Cocktail Party, 2009
10,2 x 0,5 cm
earrings; white gold, glass, various liquids: red wine, milk, olive oil, ink, woodruff syrup, water, tonic, glycerine and/or coffee
edition 60
published by Portikus, Frankfurt, Germany
sold

 

PAOLA PIVI, It’s a Cocktail Party, 2010
10,2 x 5 cm
earrings; white gold, glass, various liquids: red wine, milk, olive oil, ink, woodruff syrup, water, tonic, glycerine and/or coffee
edition 60
published by Portikus, Frankfurt, Germany
sold

 

 

History of prices offered and determined by:
Portikus, Frankfurt, Germany € 53,50 September 2010
Portikus, Frankfurt, Germany € 53,50 October 2011

OLIVIER MOSSET, Sixteen Cardboard Toblerones, 2010

OLIVIER MOSSET, Sixteen Cardboard Toblerones, 2010

30 x 40 cm
HC, 16 pages printed with a die-cut model on each page, numbered, signed
edition 125 + 30 A.P.
published by Three Star Book, Paris, France          € 240,-  December 2010

In this book, the spectator can complete the work, or not. While the «Toblerone» sculptures are references to the Swiss national repast, and to the military bunkers that dot the Swiss landscape, their very repetion reveals their most interesting facet: context and origine. In a smooth act of near industrializing a sculptural process, Mosset has placed Toblerones in a long line of austere and culturally important places, as well as executing them in various media, from ice to steel. The book version is executed in one grey color picked by Mosset, and constitutes a form no less significant in the artist’s repertoire.

JOHN BALDESSARI, untitled [skateboard], 2010

JBaldessari2010untitledSkateboard-greenFace650

JOHN BALDESSARI, untitled [skateboard], 2010
79 x 20 x 6 cm / 31.5 х 8 x 2.8 inches
screenprint, wooden skate decks
edition 500
verso artist’s signature in print
pristine
published by Supreme, New York, USA
€ 620,- + € 35,- registered mail

John Baldessari uses photomontage and painting, combined with language. His deadpan visual juxtapositions equate images with words and illuminate or challenge meaning. He shakes up held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things and human beings. Obscuring apparently clear scenes or adding stock photography with phrases by placing colourful dots e.g. over faces, he injects humour and dissonance into scattered imagery.