Location: Ground Floor
Commissioned Installation
KATSU
Untitled (Mansion Dots), 2024
Atomized enamel on canvas
Variable Dimensions
Two Canvas Sizes:
30 x 60 inches
48 x 48 inches
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Katsu Sawada, a Japanese-American new media artist born in 1982 in Honolulu, HI, now lives and works between Brooklyn, NY, and San Francisco, CA. After earning his BFA in Integrated Design from Parsons School of Design in 2005, KATSU has emerged as a leading figure in merging technology with art, making significant contributions to the graffiti and hacker communities by blending technology, artistic talent, and humor. His innovative work, which spans drone painting, sculpture, digital media, conceptual works, NFTs, and video games, delves into themes of commercialism, privacy, digital culture, reality, fiction, and futurism. KATSU's practice conceptually integrates vandalism with commercialism and technology to explore identity and authorship, often leading to public interventions that question societal norms.
During his tenure as a Research Fellow with the Free Art and Technology Lab (F.A.T. Lab), a collective of creative technologists and hacker artists from 2007 to 2015, KATSU began experimenting with art and technology. His role as a Google creative technologist in 2016 saw him working on VR and machine learning projects, further expanding his technological repertoire. In 2021, KATSU embarked on high visibility, multidisciplinary collaborations with Virgil Abloh, including a video game, fashion line, and site-specific installations, marking a significant milestone in his career.
KATSU's solo exhibitions highlight his versatility and creativity, with notable shows like "BITS" at Ever Gold [Projects], San Francisco (2021); "DOT" at The Hole, New York City (2020); "DRONE" at Diane Rosenstein Gallery, Los Angeles (2018); "Memory Foam" at The Hole, New York City (2018); "AI Criminals" at an unknown location, San Francisco (2017); and "Remember the Future" at The Hole, New York City (2015). His work has not only been featured in major group shows at prestigious venues like the Fondation Cartier in Paris, France, and Eyebeam in Brooklyn, NY but has also attracted media attention from outlets such as Wired, New York Times, Time Magazine, Newsweek, Artforum, Artnet, Wallstreet Journal, CNN, Verge, and Tech Crunch, showcasing his significant influence and innovative approach to art and technology.
Location: Third Floor
Eric Dever
Cymbidiums and Lilies, Her Celebration of Life, 2023
Collage, acrylic, oil stick, and ink jet on canvas
36 x 48 inches
91 x 122 cm
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Eric Dever (American, b. 1962) is a painter whose subjects include abstract landscapes, flowers, and repeated patterns of geometric shapes. An interest in the natural world permeates through his practice, influencing the contents of his work, as well as the colors and forms. For a period of his career, Dever painted almost entirely in monochrome, exploring the bounds of material and method, which became a meditative process. The colors, flora, and landscapes surrounding his studio in Southampton eventually seeped into his work, though he never fully left behind his interest in a meditative form of painting. His subjects capture the essence of a place or time rather than an exact depiction.
Dever’s work has been exhibited extensively, including at the Parrish Art Museum, Water Mill; the Whitney Museum, New York; The Painting Center, New York; the Los Angeles County Museum of Art, California; and the Guild Hall Museum, East Hampton.
Location: Fourth Floor
Sherron Francis
Dust Brush, 1972
Acrylic on canvas
88 x 44 inches
223 x 111 cm
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Sherron Francis (American, b. 1940) is part of the group of abstract artists who pushed the boundaries of the movement in the 1960s and 70s, combining elements of Abstract Expressionism and Color Field painting. While now associated with abstraction, Francis started as a figurative painter. When she first moved to New York in the late 1960s, Francis helped to found Bowery Gallery and staged her first solo show with them in 1970. After this show, she switched entirely to abstraction and began using a stain method similar to her contemporaries like Helen Frankenthaler. Setting herself apart with narrow, rectangular canvases, Francis quickly rose to prominence in the New York art scene. As her practice evolved, Francis began embracing other canvas sizes and new materials, including clay. She stopped working in the mid-1980s and moved out of New York as an increase in rent drove many artists away from the city.
Francis’ work has been exhibited widely, including at the Whitney Museum, New York; Evansville Museum, Evansville; Speed Museum, Louisville; Tibor de Nagy, New York; Lincoln Glenn, New York; Bowery Gallery, New York; Andre Emmerich Gallery, New York; Janie C. Lee Gallery, Houston; B. Kornblatt Gallery, Baltimore; Bell Gallery, Providence; and Rubiner Gallery, Detroit.
Location: Fourth Floor
Sherron Francis
Untitled, c. 1973
Acrylic on canvas
71 x 52 inches
180 x 132 cm
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Sherron Francis (American, b. 1940) is part of the group of abstract artists who pushed the boundaries of the movement in the 1960s and 70s, combining elements of Abstract Expressionism and Color Field painting. While now associated with abstraction, Francis started as a figurative painter. When she first moved to New York in the late 1960s, Francis helped to found Bowery Gallery and staged her first solo show with them in 1970. After this show, she switched entirely to abstraction and began using a stain method similar to her contemporaries like Helen Frankenthaler. Setting herself apart with narrow, rectangular canvases, Francis quickly rose to prominence in the New York art scene. As her practice evolved, Francis began embracing other canvas sizes and new materials, including clay. She stopped working in the mid-1980s and moved out of New York as an increase in rent drove many artists away from the city.
Francis’ work has been exhibited widely, including at the Whitney Museum, New York; Evansville Museum, Evansville; Speed Museum, Louisville; Tibor de Nagy, New York; Lincoln Glenn, New York; Bowery Gallery, New York; Andre Emmerich Gallery, New York; Janie C. Lee Gallery, Houston; B. Kornblatt Gallery, Baltimore; Bell Gallery, Providence; and Rubiner Gallery, Detroit.
Location: Fifth Floor
Carly Burnell
cracked bottom, 2022
Oil on linen
16 x 12 inches
40 x 30 cm
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Carly Burnell (American, b. 1991) is a painter who layers wax and silicone on oil paint to reflect an inevitable state of ever-shifting change. This technique creates a prismatic, mirror-like effect on the surfaces of her works, aiming for a response to the iridescent sheen that reflects emotion primarily over finite details of the face before it. The paintings are deeply personal, informal in their suggestive use of color and line, inviting signals of materiality rather than confirming them. Each patina evolves with the piece as a lens to examine both the changing paint, as well as the face of the viewer. These tones and textures take on an earthy topography, rooting the abstraction in Romantic landscape inspiration and a ritual cycle of exploration and meaning.
Burnell’s work has been exhibited widely, including at Spencer Brownstone Gallery, New York; gallery cfcp, Brooklyn; and 80WSE Gallery Project Space, New York.
Location: Fifth Floor
Carly Burnell
full scale sorrow 2, 2022
Oil on linen
16 x 12 inches
40 x 30 cm
-
Carly Burnell (American, b. 1991) is a painter who layers wax and silicone on oil paint to reflect an inevitable state of ever-shifting change. This technique creates a prismatic, mirror-like effect on the surfaces of her works, aiming for a response to the iridescent sheen that reflects emotion primarily over finite details of the face before it. The paintings are deeply personal, informal in their suggestive use of color and line, inviting signals of materiality rather than confirming them. Each patina evolves with the piece as a lens to examine both the changing paint, as well as the face of the viewer. These tones and textures take on an earthy topography, rooting the abstraction in Romantic landscape inspiration and a ritual cycle of exploration and meaning.
Burnell’s work has been exhibited widely, including at Spencer Brownstone Gallery, New York; gallery cfcp, Brooklyn; and 80WSE Gallery Project Space, New York.
Location: Fifth Floor
Jill Nathanson
Psalmody, 2021
Acrylic and polymers with oil on panel
40 x 74 inches
102 x 188 cm
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Jill Nathanson (American, b. 1955) paints in the style of Color Field artists, embracing luminous, overlapping blocks of color that result in immersive, sensual compositions. Nathanson’s work recalls the colorful paintings of Larry Poons and Kenneth Noland. She creates her ethereal work through a multistep process. She starts with translucent sheets of color that she cuts and collages together like a preparatory sketch. As she overlays new colors, she observes how the hues interact, building each composition slowly. When Nathanson is ready to translate the results into paint, she pours the material onto the surface, separating certain areas with tape and letting colors dry before adding new ones. Nathanson’s paintings have often been described as similar to stained glass windows, in particular for their seeming ability to capture different colors as the light changes.
Nathanson’s work has been exhibited widely, including at the National Academy Museum, New York; Hunter College, New York; Roanoke College, Virginia; the Philadelphia Museum of Jewish Art, Pennsylvania; and the Museum of Fine Arts, Houston.
Location: Sixth floor
(Also see his commissioned installation on the ground floor)
Not Often, 2021
Atomized enamel on acrylic primed canvas
48 x 48 inches
121 x 121 cm
KATSU
-
Katsu Sawada, a Japanese-American new media artist born in 1982 in Honolulu, HI, now lives and works between Brooklyn, NY, and San Francisco, CA. After earning his BFA in Integrated Design from Parsons School of Design in 2005, KATSU has emerged as a leading figure in merging technology with art, making significant contributions to the graffiti and hacker communities by blending technology, artistic talent, and humor. His innovative work, which spans drone painting, sculpture, digital media, conceptual works, NFTs, and video games, delves into themes of commercialism, privacy, digital culture, reality, fiction, and futurism. KATSU's practice conceptually integrates vandalism with commercialism and technology to explore identity and authorship, often leading to public interventions that question societal norms.
During his tenure as a Research Fellow with the Free Art and Technology Lab (F.A.T. Lab), a collective of creative technologists and hacker artists from 2007 to 2015, KATSU began experimenting with art and technology. His role as a Google creative technologist in 2016 saw him working on VR and machine learning projects, further expanding his technological repertoire. In 2021, KATSU embarked on high visibility, multidisciplinary collaborations with Virgil Abloh, including a video game, fashion line, and site-specific installations, marking a significant milestone in his career.
KATSU's solo exhibitions highlight his versatility and creativity, with notable shows like "BITS" at Ever Gold [Projects], San Francisco (2021); "DOT" at The Hole, New York City (2020); "DRONE" at Diane Rosenstein Gallery, Los Angeles (2018); "Memory Foam" at The Hole, New York City (2018); "AI Criminals" at an unknown location, San Francisco (2017); and "Remember the Future" at The Hole, New York City (2015). His work has not only been featured in major group shows at prestigious venues like the Fondation Cartier in Paris, France, and Eyebeam in Brooklyn, NY but has also attracted media attention from outlets such as Wired, New York Times, Time Magazine, Newsweek, Artforum, Artnet, Wallstreet Journal, CNN, Verge, and Tech Crunch, showcasing his significant influence and innovative approach to art and technology.
Location: Sixth floor
Richard Prince
Untitled, 2021
Collage, acrylic, oil stick, and ink jet on canvas
81 x 59 inches
205 x 150 cm
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Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.
Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4x4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.
Richard Prince
Location: Sixth floor
Untitled, 2021
Collage, acrylic, oil stick, and ink jet on canvas
81 x 59 inches
205 x 150 cm
-
Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.
Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4x4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.